(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Agenda"

Digitized by the Internet Archive 
in 2013 



http://archive.org/details/agenda1990arts 



t I kpwms 



45 Hyde Street 

Suite 319 

Son Francisco. CA 94102 

415 558 3463 



MAYOR 
Art Agnos 



COMMISSIONERS 

Robert F loRocco. 
Presldont 



Vernon Alley 

Stanley Elchelbaum 

Kim Fowler 

Daniel Genera 

Anne Healy 

John Krlken 

Amolla Mesa Bains. Ph D 

l?ol Y. Okamoto 

3,,- 1 Rosekrans 
bra Sklar 

EX OFFICIO MEMBERS 

Presidents o( the 
Fine Arts Museum 
Library Commission. 
Planning Commission, 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



VISUAL ARTS COMMITTEE MEETING 
WEDNESDAY, JANURAY 24, 1990 

The regular monthly meeting of the Visual Arts 
Committee will be held on Wednesday, January 24, 1990 
in Room 317 of the Civic Auditorium on Grove Street 
between Polk and Larkin. The meeting will take place 
at 3:00 PM . 

I. Approval of Minutes: December 20, 1989 

II. Proposed Gift to the Collection: Goddess of Democracy 
Portsmouth Square (Tom Marsh, artist) 

III. Art Enrichment: Pier 7 Design Approval 
(Steve Gil man, Jill Manton) 

IV. Collections: Contract Modification for Jim Bernstein 
Airport Conservation Survey (Debra Lehane) 

V. Art Enrichment: Additional Payment Martha Heavenston 
for 6th and Folsom Recreation Center (Debra Lehane) 

Old Business 

New Business 

Adjournment 



~ 




45 Hyde Street 

Suite 319 

Son Francisco. CA 94102 

415 558 3463 



VISUAL ARTS COMMITTEE MEETING MINUTES 

WEDNESDAY, JANUARY 24, 1990 

The regular monthly meeting of the Visual Arts Committee was 
held on Wednesday, January 24, 1990 at 3:00 PM in Room 317 
of the Civic Auditorium located at 99 Grove Street. 



ROLL CALL: 



COMMISSIONERS PRESENT 



COMMISSIONERS ABSENT 



MAYOR 
Art Agnos 



COMMISSIONERS 



Anne Healy - Chair 

Nancy Boas 

Amalia Mesa-Bains (arr. 3:35 pm) 

Robert LaRocca (arr. 3:40 pm) 

STAFF PRESENT: Claire Isaacs, Director 
Jill Manton 
Debra Lehane 



Nancy Boas 
Vice President 

Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Ame Heaty 
John Krlken 

Amallo Mesa-Bains. Ph.D. 
Ral Y Okomoto 
.JPodle Rosekrans 
5*rbara Sklar 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Ctolre N. Isaacs 



There being a quorum, the Committee proceeded to its formal 
business. 

DISCUSSION: The following subjects were thoroughly 
discussed and administrative directives suggested (where 
appropriate) . 

SUBJECTS/ADMINISTRATIVE DIRECTIVES/DISCUSSION 

I. APPROVAL OF MINUTES 

The minutes from the December 20, 1989 meeting were approved 
in a motion made by Commissioner Boas. Consensus was 
unanimous. 

II. ART ENRICHMENT: PIER 7 

Artist Steve Gilman presented to the Committee design 
specifics for his art enrichment project at Pier 7. 
Discussed specifically was the height of the granite seating 
sculptures, the two grill color proposals and the width of 
the granite seats. A height of 17 " was agreed upon with a 
width between 8-12 " for the seating surfaces. Commissioner 
Healy indicated a preference for bronze instead of cast iron 
for the grills and requested the artist to make cost 
comparisons. The Committee approved the design as discussed 
and proposed. 

III. COLLECTIONS: CONTRACT MODIFICATION/JIM BERNSTEIN 

Debra Lehane reported to the Committee the progress on the 
Airport Art Maintenance Survey which is being conducted by 
Jim Bernstein. In order to complete the project, Mr. 
Bernstein's contract needs to be increased by $3,500 and the 




Page-1 



Visual Arts Committee/January 24, 1990 

III. COLLECTIONS: CONTRACT MODIFICATION/BERNSTEIN Cont. 

contract extended to the September 1990. The changes were 
approved by the Committee. 

IV. ART ENRICHMENT: MARTHA HEAVENSTON/6TH AND FOLSOM 

Debra Lehane informed the Committee of additional expenses 
incurred by Martha Heavenston for the 6th and Folsom Street 
Recreation Center. The expenses have been approved by the 
Bureau of Architecture and Recreation and Park Commission 
and the funds were being provided by the project to pay 
Martha the additional $3,625 which she has requested. Since 
the contract was closed in September 1989, Ms. Heavenston 
will be paid by direct payment. 

V. ARTS COMMISSION GALLERY: GRANT APPLICATION 

Anne Meissner, Gallery Director requested the Committee's 
approval for to apply for a grant in the amount of $18,000 
from the California Arts Council. This is $500 more than 
requested in the past. The Committee approved and referred 
the item to the Finance Committee. 

VI. ARTS COMMISSION GALLERY: ADVISORY BOARD CHANGES 

Anne Meissner, Gallery Director informed the Committee of 
two new members to the advisory panel. Tony Labat and Susan 
Werner were approved as new members to the Arts Commission 
Gallery Advisory Board. 

VII. ARTS COMMISSION GALLERY: EXHIBITION APPROVAL 

Anne Meissner, Gallery Director requested exhibition concept 
approval for an exhibition titled "Change Through Time" 
curated by the curatorial committee of the gallery and 
scheduled for march 15 through April 28. Approval was 
given. She also advised the Committee that Ms. Patty 
Davidson had been hired as a part time gallery attendant. 

VIII. PRIVATE SUBMISSION: GODDESS OF DEMOCRACY 

(Shortly after the beginning of this presentation, 
Commissioners Mesa-Bains and LaRocca arrived in that order.) 

Commissioner Healy reviewed for those in attendance the role 
of the Visual Arts Committee in the consideration of this 
gift. The Visual Arts Committee will be considering 
aesthetics qualities of the proposed monuments which 
include: scale, placement, size, weight, interaction with 
the site, masterplan and the park users. Tom Marsh, 
sculptor/artist for the project introduced Henry Der, 
Executive Director of Chinese for Affirmative Action and a 
member of the Steering Committee for the San Francisco 

Page-2 



Visual Arts Committee/January 24, 1990 
VIII. GODDESS OF DEMOCRACY PROJECT Cont. 

Goddess of Democracy Project. Mr. Der informed the Visual 
Arts Committee of the action taken by the Board of 
Supervisors in support of this statue. Mr. Der also assured 
the Committee that Chinese artists were and are involved in 
the project along with Mr. Marsh. Prior to the Recreation 
and Park Commission meetings, a technical committee prepared 
site information and public hearings were held. The 
Steering Committee acknowledged differences concerning the 
placement of the statue and that alternatives have been 
discussed. Mr. Der identified sites which the Steering 
Committee has considered with the preferred site being in 
the center of the Plaza. Mr. Der predicted that the statue 
will be visited by many people and should not be obstructed 
within the park. Finally, Mr. Der spoke to the 
representation of the statue and the importance it has in 
present day events. 

Commissioner Healy asked for specific information concerning 
the base design and the statue finish. The waffle slab of 
the garage will allow 150 lb/square foot. The design 
variations have different weight allowances. Commissioner 
Healy asked if the Steering Committee had a preference on 
the base design. Tom Marsh indicated the design of choice 
being a cascading design. The weight of the bronze has been 
estimated at 800 lbs with a white patina. Aesthetically, it 
is important since the original Goddess was white plaster. 
Incralac will coat the bronze. 

Commissioner Mesa-Bains asked if this was an "exact replica" 
or an interpretation of the original. Does it have the same 
dimensions? Mr. Marsh responded that since the original has 
been destroyed photographs have been used to recreate the 
statue with some refinements and an effort to maintain the 
spirit of this piece has been made on a different scale. 

Commissioner Boas asked if the 8 foot model will be used for 
the design of the full size statue. Mr. Marsh indicated 
that it would be used and has a history of its own in 
relation to a July rally. 

A photomontage of the statue in the park was shown. 

The Committee requested a rendering or photomontage of the 
statue in the site as seen from different directions. The 
Committee would also like to see the 8' statue in Portsmouth 
Square. A mock up of the base should also be made for 
viewing in the park out of styrofoam or some easy to move 
material. Placement of a scale replica of the sculpture in 
a model of the park should also be prepared. 

At this time, the public was invited to speak: 

Page-3 



Visual Arts Commi ttee/ January 24, 1990 
VIII. Goddess of Democracy Proposal cont. 

Brian David Laczko 

An architect working with Lawrence Halprin discussed the 
base. The base was designed so that people can ascend and 
touch the figure. He also described the change in the stair 
design. The height of the cascading base is 5' x 6-10' x 
10' deep approx. placed in a 30'wide plaza. Child safety 
was questioned by the Committee. 

Sal ly Rich 

Academy of Art Student spoke in support of the Goddess of 
Democracy Project. 

Wi 1 1 jam Wu 

Former Director of the Chinese Cultural Center and Art 
Historian spoke against the placement of the Goddess of 
Democracy in Portsmouth Square. He stressed that he is not 
casting a vote against Democracy and spoke in support of the 
students. The image of the Goddess does not match the 
nobility of the students themselves. He referred to the 
statue as a "copy-cat" sculpture and as being awkward and 
sloppy. He also spoke of the "passion" of the time and that 
the proponents of the statue were not thinking of the 
permanence of the piece. He questioned the "purpose" and 
that it had not been defined. Mr. Wu suggested the image of 
a student standing before a tank to be a more appropriate 
commemoration of the event. Mr. Wu also suggested an open 
competition for a memorial. 

Brian K. Wanerman 

Mr. Wanerman spoke in favor of the statue, identifying it 
with democracy. He referred to other cities who are 
considering a similar memorial. 

Anzan Young 

Mr. Young spoke in favor of the Goddess of Democracy as a 
private citizen. 

Margaret Stainer 

Ms. Stainer, Gallery Director for the Academy of Art 
Galleries reiterated her support for the project which had 
been stated in a letter to the Commission. 

Jennie Lew 

Ms. Lew identified park projects in which she had 
previously assisted with. She stated the importance of 



Page-4 



Visual Arts Committee/January 24, 1990 
VIII. Goddess of Democracy Proposal cont. 

Portsmouth Square to the Chinese community. Ms. Lew 
disagreed with the Steering Committee proposed location for 
the statue siting traffic patterns for the park. She 
believes that placement of the statue in the center of the 
park with impede circulation. She participated in community 
workshops and in the study of the park use and explained to 
the Commissioners some of thinking behind the Masterplan for 
the park. The Chinese community prefers more intimate 
settings and functions had been considered in the approved 
Masterplan as well. She requested that the Committee 
remember the community participation which had been part of 
the planning process and that user patterns be considered. 

Terry-Ow-Wing 

Ms. Ow-Wing is an architect and co-chairs a committee on 
open space. She requested respect for the users of the 
park. She referred to the park as "the living room of China 
Town". The size of the pedestal was a concern. Given the 
community in which the statue is to be placed, she felt it 
to be too large. 

Doris Chan 

Ms. Chan read a statement from Congresswoman Nancy Pelosi 
which supported the efforts of the Steering Committee. 

Frank Wong 

Mr. Wong of the Chinese Democratic Education Foundation 
spoke in support of the statue, but suggested that it could 
be moved back some. 

Commissioner Healy stressed the need for a democratic 
process for deciding the Goddess of Democracy. She 
requested that as exact as possible replica of the statue be 
constructed. That weight, base design and its weight, 
examples of the patina with and without coating also was 
requested. Staff will schedule the next hearing of the 
proposal and the site viewing of the full model in the 
square. 

Commissioner Mesa-Bains addressed the audience to thank the 
participants for the experience and for being part of the 
process of art through community decision making. She 
stressed that no matter the outcome, the process of 
understanding how a community uses it space, its cultural 
patterns of conversations, what we conceive as the ideal of 
democracy, our various points of view about aesthetics will 
ultimately become a model for the ways we decide how art 
lives in our community. The Commissioner stated that the 
VIII. GODDESS OF DEMOCRACY cont. 

Page-5 



Visual Arts Committee/January 24, 1990 

very process we are going through is as much a spirit of 
that moment in history which the Goddess represents. The 
fact that diverse points of view are tolerated with an 
element of respect for each other is the most important part 
of the process in which the Committee and community is 
engaged. She expressed her appreciate to the group for the 
opportunity to experience and become knowledgeable about a 
different community. 

Commissioner Healy expressed her appreciation as well. 

REPORTS AND ORDERS 

1. Ordered: Motion to approve the design for Pier 7 by 

Steve Gilman as presented with a 17" height 

for granite seating with a width variation of 

8-12" and the proposed treatment of the 

granite face. 

Motion: Nancy Boas 

Consensus: Unanimous 

2. Ordered: Motion to modify Jim Bernstein's contract for 

the Airport Conservation Survey by an increase 
of $3,500 and an extension to September 1990. 
Motion: Anne Healy 
Consensus: Unanimous 

3. Ordered: Motion to pay Martha Heavenston the amount of 

$3,625 for additional expenses at the 6th and 

Folsom Recreation Center Art Enrichment 

Project. 

Motion: Nancy Boas 

Consensus: Unanimous 

4. Ordered: Motion to approve the application of the Arts 

Commission Gallery to the California Arts 

Council for a grant in the amount of $18,000, 

and to refer the item to the Finance 

Committee. 

Motion: Nancy Boas 

Consensus: Unanimous 

5. Ordered: Motion to approve the selection of Tony Labat 

and Susan Werner to the Arts Commission 
Gallery Advisory Board. 
Motion: Nancy Boas 
Consensus: Unanimous 



REPORTS AND ORDERS cont. 



Page-6 



Visual Arts Committee/ January 24, 1990 

REPORTS AND ORDERS cont. 

6. Ordered: Motion to approve the Arts Commission Gallery 

exhibition concept "Change Through Time" 

scheduled for March 15 - April 28, 1990. 

Motion: Anne Healy 

Consensus: Unanimous 

There being no further business, the meeting was adjourned 
at 5:25 PM. 

Submitted, 



Debra Lehane 
Collections Manager 



2/14/90 



Page-7 



Sity and County of San Francisco 



ll _ 






MVP 



Art Commission 

Claire N. Ieaaca 
DIRECTOR 



Memorandum 



DATE: February 6, 1990 

rO: Claire Isaacs 

FROM: Debra Lehane 

SUBJECT: Coordination of Visual Arts Committee 

Wlien Jill Manton prepared for her maternity leave, I agreed to 
coordinate the Visual Arts Committee in her absence. The reasons 
.■it the time were Logical and I willing assumed the responsibility 
thinking it to be temporary. 

When Jill returned to work part time and with Regina's departure, 
I continued to coordinate the Visual Arts Committee for lack of 
anyone else to assume the task. The coordination of this committee 
takes as much as20-30% of my time each month. 

Now that two more staff peole are being added to the Art in Public 
Places Program, I request that work loads be considered. Attached 
are agendas from August to December of 1989. The majority of items 
listed have to do with the Art in Public Places Program. Since that 
program will now have more people, I can only assume that the work 
load for this committee will increase as well. I am fully aware that 
the Moscone Committee will become active again and suggest that the 
Airport be joined to the Visual Arts Committee, but even so, the 
Airport Committee is not as active at this time, and the work will 
increase for the Visual Arts Committee. 

Now that we have computers, I need more time to work toward putting 
the collection on the computer and in preparing for an inventory. 
Collections has only one person trying to meet all its needs and I 
feel I should devote as much of my time to Collections Management 
as I can, therefore .returning the Visual Arts Committee to the 
program which generates the most items for the committee. 

Also, there should be a "back up system" for coordinators of Committees 
Perhaps more than one person should assist with the committees. It 
takes alot, as you know, to prepare agendas, prepare for the meeting, 
monitor the meeting, write and distribute the minutes. I think a 
better system could be designed if thought were given to the matter. 

Thank you . 



45 HYDE STREET - ROOM 319 



SAN FRANCISCO. 94102 




45 Hyde Street 
Slit* 319 

Son Francisco, C A 94 1 02 
415 558 3463 



VISUAL ARTS COMMITTEE MEETING 
WEDNESDAY, FEBRUARY 28, 1990 



MAYOR 
Art Agnos 



A special meeting of the Visual Arts Committee will be 
held in Portsmouth Square on Wednesday, February 28, 
1990 at 10:30 AM. 

Goddess of Democracy 



COMMISSIONERS 

Robert F. LaRocca 
President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Arme Heary 
John Kriken 

Amalla Mesa-flalns. Ph.D. 
Ral Y. Okamoto 
■^P^'o Rosekrans 
^ ■rbaro Sklar 

EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



Consideration of scale and site locations 



Informational meeting: no minutes were taken 



DIRECTOR 
Claire N. Isaacs 




VISUAL ARTS COMMITTEE MEETING 
WEDNESDAY, FEBRUARY 21, 1990 



45 Hyde Street 

Suite 3)9 

San Francisco. C A 94 1 02 

415 558 3463 



The regular monthly meeting of the Visual Arts 
Committee will be held on Wednesday, February 21, 1990 
in Room 302 of the Department of Public Health at 
101 Grove Street at the corner of Polk Street. The 
meeting will take place at 3:00 PM. 



I. Approval of Minutes: January 24, 1990 



MAYOR 
Art Agnos 



COMMISSIONERS 

Robert F. LaRocca 
President 

Nancy Boas 
Vice President 

Vernon Aley 

Stanley Eichelbaum 

Kim Fowler 

Daniel Genera 

AmeHeaty 

John Kriken 

Amalla Mesa-Bains. PhD, 

Ral Y. Okamoto 
^"\^dle Rosekrans 
^Jbara Sklar 

EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



II. Introduction of Tonia Macneil to Art in Public Places 
Program 

III. Arts Commission Gallery: Exploration City Site 
Summer Projects (Anne Meissner) 

IV. Art Enrichment: Bush/Polk Garage (New Project) 
(Kevin Hagerty, Parking Authority, Gordon Chong 
Assoc, Jill Manton) 

V. Private Request: Intersection for the Arts 

Permission for Temporary Installation (Linda Wilson) 

Private Submission: San Francisco Beautiful Banner 
Program (Elizabeth Martin) 

VII. Collections: Proposed relocation of Diego Rivera 
Mural at City College (Alan Brooks) 

VIII. Private Submission: Request for letter of support 
for "Surface Anatomy" A Photographic Exploration of 
Berlin's Changing Physical and Political Landscape 
(Shimon Attie, Project Director) 



DIRECTOR 
Claire N. Isaacs 



IX. Art Enrichment: Ordinance Review 

X. Art Enrichment: Market Street Design Team 
Recommendations (Jill Manton) 



XI 

XII. 

XIII 



Old Business 
New Business 
Adjournment 



dnl 2.15.90 



VISUAL ARTS COMMITTEE MEETING MINUTES 

WEDNESDAY, FEBRUARY 21, 1990 

The regular monthly meeting of the Visual Arts Committee was 
held on Wednesday, February 21, 1990 at 3:00 PM in room 302 
of the Department of Public Health, 101 Grove Street. 

ROLL CALL: COMMISSIONERS PRESENT COMMISSIONERS ABSENT 

Anne Healy - Chair (arr. 3:20 PM) 
Nancy Boas 
Amalia Mesa-Bains 
Robert LaRocca 

STAFF PRESENT: Jill Manton 

Toni a Macnei 1 

Claire Isaacs, Director 

Debra Lehane 

There being a quorum the Committee proceeded to its formal 
business. 

DISCUSSION: The following subjects were thoroughly 
discussed and administrative directives suggested (where 
appropriate) . 

SUBJECTS/ADMINISTRATIVE DIRECTIVES/DISCUSSION 

I. APPROVAL OF MINUTES 

The minutes from the January 24, 1990 meeting were approved 
in a motion made by Commissioner Boas. Consensus was 
unanimous. 

II. INTRODUCTION OF NEW STAFF 

Jill Manton introduced Tonia Macnei 1, one of two new staff 
hired for the Art in Public Places Program. In April Susan 
Pontius will join the staff and introductions will be at the 
April Visual Arts Committee meeting. 

III. ARTS COMMISSION GALLERY 

Gallery director Anne Meissner informed the Committee of a 
change in format for the summer program and the open site 
next to the Gallery. The Gallery is proposing four to five 
residencies and expanding options for the use of the space. 
A call for proposals will be issued in an open process and 
invitations also extended. Ms. Meissner asked for a 
resolution approving the departure in format. Ms. Meissner 
also advised the Committee that she will be seeking a 



Page 



VISUAL ARTS COMMITTEE MINUTES/FEBRUARY 21, 1990 

resolution at the next meeting for maintaining the funding 
of the Gallery. Rich Richardson, Gallery intern was 
introduced. 

IV. ART ENRICHMENT: BUSH/POLK STREETS GARAGE 

Tonia Macneil introduced the project to the Commissioners 
and Kevin Haggerty of the Parking Authority. Sam Noons of 
the architectural firm of Gordon Chong & Assoc, was 
identified by Mr. Haggerty and asked to explain the design 
and art enrichment ideas for the building. The character of 
the neighborhood is incorporated into the garage allowing 
for commercial spaces on the ground floor. The grill work 
on the upper floors was identified as the potential location 
of art enrichment. The amount of money for the art 
enrichment has been set at $70,000. There are 36 grills 
which equals approx. 900 square feet. The process for 
selection of an artist will include both invitation and 
announcing the project in Artweek. Staff requested and 
received a motion to approve the concept and proceed with 
the development of the project. The artist will be expected 
to both fabricate and install the grills. 

V. PRIVATE SUBMISSION: INTERSECTION FOR THE ARTS 

As part of the celebration for the new location of 
Intersection for the Arts (446 Valencia), the Recreation and 
Park Department has given permission for Scott McCloud to 
have a one day installation performance piece at Justin 
Herman Plaza titled "The Infant Carlos III Dreams of the New 
World". The performance will last 16 hours and take place 
on February 27. Questions were asked by the Commissioners 
concerning the event which were satisfactorily answered by 
Ms. Linda Wilson of Intersection for the Arts. A 
resolution to approve the performance was passed. 

VI. PRIVATE SUBMISSION: SAN FRANCISCO BEAUTIFUL BANNER 

PROGRAM 

Jill Manton reported to the Committee that this item has 
been pulled. Although there is great interest from the San 
Francisco Beautiful Program for Banners, they realized that 
their specific proposal was too ambitious for the time 
allowed and have therefore withdrawn the item for 
consideration . 

VII. PRIVATE SUBMISSION: PROPOSED RELOCATION OF MURAL 

BY DIEGO RIVERA/CITY COLLEGE 

Mr. Alan Brooks, Chairman of the College Arts Committee of 
City College, explained to the Committee that an 



Page 



VISUAL ARTS COMMITTEE MINUTES/FEBRUARY 21, 1990 

opportunity to relocate the Diego Rivera mural titled Pan 
American Unity to a new location has presented itself. 
The mural is currently housed in the lobby of the Little 
Theatre at City College. That location had been designed to 
house the mural which had originally been intended for a 
library at City College designed by Timothy Pflueger, but 
never built because of World War II. Funds have become 
available for a new library at City College and the College 
Arts Committee has been formed to investigate the possible 
move of the mural to the new library facility. Reasons for 
the move include the increase exposure of the mural to the 
public, the viewing of the mural would be improved, 
to complete the reasons for the original commission. The 
new facility has yet to be designed. The firm chosen for 
the new library is Architects Collaborative. Allison 
Chaucer representing the firm was in attendance. The 
possibility of art enrichment was also questioned and Jill 
Manton offered to explore further the art enrichment funding 
with George Shaw of City College. 

Other works of art which relate to the Rivera mural were 
identified and the suggestion of a possible grouping in the 
new location discussed. 

Members of the public were invited to speak: 

Carlyle Hi 1 Isman 

Mr. Hi 1 lsman expressed concern regarding the estimated costs 
of removing the murals from the theater lobby area. He also 
spoke in support of leaving it at its present location. 

Roger Baird 

Mr. Baird, also a member of the Art Committee, spoke of "the 
Ram" and the "Goddess of the Forest" both by Dudley Carter 
presently at City College and the unique opportunity to 
group these pieces with the Diego Rivera mural. Dudley 
Carter is depicted as the central figure in the mural in the 
process of creating the Ram as part of the Art in Action at 
the Golden Gate International Exposition. 

Michael Ruiz 

Mr. Ruiz, a member of the Art Committee and a professor in 
the Art Department felt that the Latino community would 
probably be in favor of the relocation. 

Jose Luis Leiva 

Mr. Leiva opposed the removal of the mural from the theater. 
He had consulted with artist Art Grant who advised that five 



Page 



VISUAL ARTS COMMITTEE MINUTES/FEBRUARY 21, 1990 

million dollars for insurance would be required. Mr. Leiva 
also said that he would prefer to spend the money that would 
be spent on removing the Diego Rivera mural on a new mural 
for the library. 

Don Cate 

Mr. Cate, Chair of the Theatre Art Department, referred to 
items addressed in a letter received by Commission President 
Robert LaRocca. Mr. Cate addressed issues surrounding 
"access" , "viewing distance", "lobby design", and "removal of 
the mural". Alternatives to moving the mural were also 
proposed. Mr. Cate asked that the mural remain in the lobby 
of the theater. 

David Parr 

Mr. Parr testified that removal of the mural from the 
theater lobby was a "slap in the face to the theater 
community" . 

Jim Orr 

Stated that the students to which he had spoke wanted the 
mural to remain in its present location. He also voiced a 
lack of confidence in the administration to carry out the 
recommendations of the CC Art Committee. 

Alan Brooks again addressed the Visual Arts Committee to 
identify the purpose of the request. The request is to 
explore the possibility to move the mural with the intent of 
safe removal . 

Commissioner Boas thanked all the speakers for their 
testimony. She also spoke of the significance of the mural 
as one of the most important pieces of public art in the 
country and that the work has national and international 
attention. The Art Commission must look beyond 
interdepartmental disputes. She also felt that the work has 
not been accessible and has had problems gaining access to 
the mural in the past. A concern for a viewing space which 
would not disturb students in the new library space was 
raised by Commissioner Boas. 

Commissioner Mesa-Bains reminded the Committee that the 
mural by Diego Rivera being discussed is one of the most 
important pieces in the Collection and that the work of art 
is the primary concern. The Commissioner feels that the 
mural is not in its best setting in its present location. 
Viewing of the mural is very difficult and it was intended 
to be seen in its totality. She also felt that the mural is 
ageless and is as contemporary today as when it was painted. 



Page 



VISUAL ARTS COMMITTEE MINUTES/FEBRUARY 21, 1990 

This is an opportunity deal with a major work of art in a 
public location. The mural is priceless and Rivera's is 
identified as the most important Hispanic artist of the 
time. 

Commissioner LaRocca presented letters which had been sent 
asking that the mural not be removed. The letters had been 
sent from: Paul J. Karlstrom of the Archives of American 
Art; Don Cate, City College (with petitions); Ed Hastings of 
ACT; Lee Merri weather ; Lou Carson of California State 
University, Hayward; and Steven Ringling Drewes. 
Commissioner LaRocca has not had an opportunity to view the 
mural at City College. 

Commissioner Healy appreciated all the problems being 
presented. Although she has seen the mural, there have been 
other times when the mural was inaccessible. As a member of 
the Arts Commission, Commissioner Healy felt strongly that 
she should protect Rivera's work as a fellow artist and 
follow his original intent in the placement of his mural. 

Collections Manager, Debra Lehane addressed the Committee 
speaking in favor of considering the possible move. City 
College was complimented for the care which has been given 
the mural. This however is the opportunity to design a 
space for the mural which will meet its needs and concerns 
of accessibility. She assure the audience that she too felt 
responsible for the mural's safety and that the "code of 
ethics" which governs her profession would not allow her to 
recommend removing the mural if it could not be done safely. 
She requested that the committee approve a study for the 
proposed relocation of the mural and that final approval for 
the move would be contingent upon the acceptance of the 
newly designed space, the review of the current installation 
method and the method of removal, and the funding of the 
project by the college. Ms. Lehane also requested that she 
be authorize to assist the staff in obtaining expertise in 
the field to provide the needed assistance in the project. 

Commissioner Healy stated her concern for the design of the 
space . 

Commissioner Boas raised the issue of funding. The City 
College Arts Committee had considered possible funding 
sources if given permission to pursue the relocation by the 
Arts Commission. Commissioner Boas also advised the CC Arts 
Committee to check with Butterfield and Butterfield who is 
auctioning the Pflueger papers to see if the original 
library design is part of the auction papers. 

The ideal viewing distance for the mural was said to be 50 
feet. 



Page 



VISUAL ARTS COMMITTEE MINUTES/FEBRUARY 21, 1990 

A motion to investigate the proposed move was passed. 

VIII. PRIVATE SUBMISSION: SHIMON ATTIE 

A proposal from a private artist for a letter of support was 
presented to the Commissioners. The Commissioners were not 
in favor of supporting the request and discussed the policy 
of supporting individual projects. It was their decision to 
have staff screen projects and to support projects by 
individual artists which are considered to be extraordinary. 

IX. ART ENRICHMENT: ORDINANCE 

The ideas regarding the ordinance revision were discussed as 
it relates to the Arts Policy Plan. Jill Manton reported 
that she had informally begun discussion with other 
departments and is getting interesting feedback. 
Commissioner Healy wants to see continued progress with the 
proposed ordinance changes and the coordination of the 
ordinance with the Arts Policy Plan. Ms. Manton suggested 
that the proposed ordinance revisions could be reviewed with 
the Task Force established to work on the urban design 
portion of the Arts policy Plan. 

X. ART ENRICHMENT: MARKET STREET DESIGN TEAM 

Jill Manton reported on the three semi-finalist design teams 
for Market Street. They are: Topher Delaney, Andrea 
Cochran, Paul Kos; Toby Levy, Pat O'Brien, Tim Collins; Van 
Meter, Williams, Pollack and Steve Oku. She reported that 
the fee is $20,000 and that although she was disappointed 
with the number of applicants, she was impressed with the 
quality of the applicants. Commissioner Mesa-Bains said 
that she hoped the design team would be working with future 
demographics for the Market Street plan. The finalists will 
be selected by interviews on March 6th. 

XI. NEW BUSINESS 

Commissioner LaRocca alerted the Committee of the Mission 
Street Parking Garage project and that reluctance of the 
architect to include Art Enrichment. It was suggested that 
Civic Design hold Phase III approval until the issue was 
resolved. 

Commission Mesa-Bains reported that a mural in Mission 
district had been painted over. The mural by Mujeres 
Mural istas between 25th and 26th on Mission Street was a 
wonderful and important mural by the artists. She asked 
about protection of these murals on private property. 
Although murals are approved by the Arts Commission, they 



Page 



VISUAL ARTS COMMITTEE MINUTES/FEBRUARY 21, 1990 

are not considered part of the collection. According to the 
California Art Preservation law, the artists should have 
been contacted before the mural was painted over. 



REPORTS AND ORDERS 

1. ORDERED: Motion to offer a series of residencies 

for the Arts Commission Gallery open lot site 

and to use an open format in selection of 

arti sts. 

Motion: Robert LaRocca 

Consensus: Unanimous 

2. ORDERED: Motion to approve the concept of artist 

designed grillwork for the Bush/Polk parking 

garage and to proceed with development of 

the project. 

Motion: Anne Healy 

Consensus: Unanimous 

3. ORDERED: Motion to approve the site specific 

performance in Justin Herman Plaza by Scott 
McCloud on February 27th sponsored by 
Intersection for the Arts. 
Motion: Anne Healy 
Consensus: Unanimous 



4. ORDERED: Motion to approve further study of the 

possible relocation of the Diego Rivera mural 
at City College from the Little Theatre to the 
new library facility presently being designed. 
Final approval of the relocation will be 
contingent upon approval of the newly design 
space for the mural within the library, review 
of the method of removal and installation 
which guarantees safe handling of the mural, 
and funding of the project. Arts Commission 
staff is authorized to assist the College Art 
Committee with this research. 
Motion: Anne Healy 
Consensus: Unanimous 

There being no further business, the meeting was adjourned 
at 5:45 PM . 



Submitted by: 

Debra Lehane 
Collections Manager 
3.6.90 



Page 



Filmmakers Collaborative, Inc. 



Monday, February 12, 1990 



Debra Lehane 

San Francisco Arts Commission 

45 Hyde Street 

Room 319 

San Francisco, CA 94 102 

Dear Debra: 

Thank you for your offer to bring my project before the arts commission for 
consideration for a letter of support. The project is sponsored by 
Filmmakers, Collaborative, Inc., a San Francisco non-profit (50 l-c-3) 
organization dedicated to educating bay area audiences about issues of 
public concern through the visual arts. 

As I mentioned to you on the phone, I have recently received word that the 
United States Fulbright Commission has approved a $$,000 grant in support 
of the project. Final German approval is expected in May. I am now 
beginning to raise funds for the project from other sources as the total 
projected budget will be approximately $40,000. Having a letter of support 
from the San Francisco Arts Commission would be very helpful as I will be 
approaching mostly local foundations. 

Letters of support have been received from Dr. Stephen Nobbe, executive 
director of the Goethe Institute, San Francisco; Michael Koch, cultural attache 
of the German consulate, San Francisco; San Francisco Camerawork Gallery; 
San Francisco State University photography professors Jack Welpott, Lewis 
DeSoto, and Meridel Rubenstein; and a letter is in route from the Friends of 
Photography. 

The project, Surface Anatomy, is a fine art photographic project focusing on 
the dramatic political changes unfolding in Berlin. The project will be 
exhibited widely throughout the bay area (which is my home). It will offer 
its audience here an opportunity for a more complex experience than 
straightforward news accounts provide of the dramatic events under way in 
Berlin. 

I am enclosing a draft of the proposal which is very near completion as well 
as a resume. . «/ concord street 

San Francisco. CA 94112 
(415)469-7532 



Thank you again, and I'll look forward to hearing from you. 
Sincerely, 

Shimon Attie, Project Director 

100 Hermann St., * 1, San Francisco, CA 94 102 

Phone:621-1059 



s 



URFACE MNATOMY 



A Photographic Exploration of Berlin's Changing Physical and 
Political Landscape 

Shimon Attie, Project Director 



Overview 

Surface Anatomy is a photographic project about the changing physical 
and political landscape of Berlin. It compares the divided geography and 
emotions of the city and its inhabitants to the complexities of medical surgery 
and healing conducted by the human hand. The images created in this project 
will enable viewers to contemplate the current and historical state of Berlin, the 
metaphoric relationship between surgery conducted on the human body and 
the urban landscape, and the larger meanings of "severing" and "healing." 
Surface Anatomy will be exhibited throughout California, offering audiences an 
opportunity for a more complex experience than straightforward news accounts 
provide of the dramatic events unfolding in Berlin. 

Inspiration for Surface Anatomy 

At this critical juncture in history, there is an urgent need to make sense 
of the recent events that are changing our world so quickly. The division of 
Europe, which for 45 years has defined our post-war reality, is rapidly becoming 
history. Nowhere are these changes more evident than in Berlin. Images 
unthinkable only a few months ago flash across our television screens: East 
and West Berliners dancing together in the streets, Germans chipping away at 
the Berlin Wall, guards smiling on both sides of the Brandenburg gates. 

As talk of the Wall coming down and of a potentially reunified Germany 
stirs euphoria in some circles, it provokes anxiety and apprehension in others. 
What will happen to our memory of the horrible events that led to Berlin's 
division once the last physical and political evidence of them has been erased ? 
Will history be repeated? Or will it simply be forgotten? 

One way to understand the physical and political conditions in Berlin is to 
reveal the city's underlying "anatomical geography," the links between human 
and urban surgery with which it has been inflicted. Surface Anatomy boldly 
asserts this metaphor by borrowing images from medicine and anatomy to 
symbolize and describe Berlin's past and present — its fractured condition and 
the complexity of the healing process it currently is experiencing. 



The disciplines of medicine and urbanism have always shared their 
vocabulary. We refer to both tissue and landscape as being "scarred," to 
bacteria and neighborhoods as being "purged," and to the "parasites" that 
reside within both body and city. Likewise we speak of the "heart" of a nation, 
the "head" of a government, and of legislative "bodies." Our language reflects 
and reinforces the parallel relationship between body and city, and between 
anatomy, geography, and politics. 

In medicine, healing and wounding are often in a paradoxical 
relationship to one another. A physician will often wound a patient — by lancing 
a boil or with a surgical incision — in order to heal him; or heal a patient by 
wounding him — with toxic radiation or chemotherapy. Surface Anatomy 
suggests this very paradox as a lens through which recent events in Berlin may 
be viewed. 

Project Setting 

Since World War II, Berlin has been the site of multiple incisions. 
Everywhere in the city, the work of a surgeon can be felt. Amputated from the 
East and severed from Bonn, the city has been in quarantine. Although much 
rebuilding has occurred, the scars of the war persist. Many buildings still lie in 
ruins, like unattended injuries. Others have undergone only external treatment, 
leaving the internal lesions to fester. The hundreds of bullet holes in the 
Reichstag, for example, have been grafted over with blocks of cement, creating 
an epidermal checkerboard. But no amount of reconstructive surgery on the 
skin's outer layer can belie the true essence of the wound. 

The preservation of Berlin's ruptured condition and scarred urban 
landscape has served as a testament to East-West division and tension. But 
just as important, Berlin's amputation has been the enduring evidence and 
inescapable reminder that the horrors of the second world war did in fact take 
place. At the same time, it has prevented the war from being fully completed, 
maintaining Berlin as an open incision that has not healed. 



Each Berlin experiences the other as if it were a dissevered limb — at 
once extremely familiar, yet utterly foreign. As the Berlin Wall becomes more 
porous and perhaps decomposes entirely, the cleavage between trunk and 
limb, East and West, is becoming less clear. The ongoing transformation of the 
Wall into a threshold, a place of passage and communication, is one example of 
the opportunities in Berlin for examining the meaning and function of social and 
geographical severing and healing: the creation of "otherness" which makes 
acts of war possible and the collapsing of barriers that fosters peaceful 
coexistence. 

The Project 

For Surface Anatomy, images and diagrammatic representations of 
anatomical organs and body parts, physiological processes, and surgical 
procedures will be slide-projected on a large scale, on location, onto a number 
of buildings and structures in East and West Berlin. A 4" X 5" View Camera will 
then be used to make 30" x 40" color photographs of this visual layering of 
anatomy, medicine, and architecture. Approximately 40 such photographs will 
be completed by the end of the project. 

The selection of images to be projected onto specific structures reflects 
how different sites in the city have responded to past division, and to the 
mending now underway: a surgeon's hand suturing a wound along the Berlin 
Wall; human scar tissue on partially reconstructed buildings; a prosthetic limb 
on the yet to be rebuilt steeple of Kaiser Wilhelm Church. Different photographic 
processes such as the use of color, black and white, or toning will reflect the 
differences in how East and West Berlin each have responded to its past 
severing. 

The political events of the fall of 1989 offer a historic opportunity for the 
healing of Berlin's severed state and the larger east-west division which it 
represents. As these events carve out a new geopolitical landscape in both 
Europe and the United States, it is crucial that Americans as well as Europeans 
understand their full impact. 



Surface Anatomy gives artistic expression and interpretation to these 
remarkable and complex developments, and is relevant to both American and 
European audiences. It will serve as a visual document of these changes for 
generations to come, educating and moving viewers toward a greater 
awareness and appreciation for the possibilities the future holds — the 
opportunities as well as the dangers. 

Project Advisors 

The advisers for Surface Anatomy are: 
Paul Groth . Professor of History of Cultural Landscape, Department of 
Architecture, University of California, Berkeley, CA; 
Leland Rice '. Photographer of the "Berlin Wall Project," Emeryville, CA; 
Jack Welpott . Professor of Urban Landscape Photography, San Francisco State 
University, San Francisco, CA; 

Dieter Appett . Professor of Experimental Photography, Advanced School for 
German Art (Hochschule fur Deutsche Kunste, HDK), Berlin, West Germany; 
Lewis DeSoto . Professor of Conceptual Photography, San Francisco State 
University, San Francisco, CA; 

Roswitha Bauermeister '. German slide projection artist, Berlin, West Germany; 
Gregory Whitehead . Conceptual Artist focusing on the relationship between 
medical narratives and cultural "woundscapes," Institute of Woundscape 
Studies, Philadelphia, PA; and 

Meridel Rubenstein . Professor of Art Photography, San Francisco State 
University, San Francisco, CA. 

Sponsoring Organization 

Surface Anatomy is sponsored by Filmmakers Collaborative Inc., a non- 
profit (501 -c-3) organization which is dedicated to educating the American 
public about issues of public concern through the visual arts. 



* to be confirmed. 



German Support 

The German institution hosting the project will be the Hochschule fur 
Deutsch Kunste (HDK), Berlin. As well, the cultural attache of the German 
consulate in San Francisco, Mr. Michael Koch, is serving as a liaison for the 
project with the Berlin Municipal Ministry of Culture. 

Production Schedule and Intended Audience 

Project production dates will be from August 1990 to July 1991 in Berlin. 
Surface Anatomy will become a travelling exhibition and go on tour in California 
and other parts of the United States and Europe. Publication of the 
photographs produced in the project also will be sought in book form. 

About the Artist 

Shimon Attie, Project Director, has been making photographic images 
since 1980. His work has been exhibited widely throughout the United States. 
In 1987 he was voted one of the "Top 100 New Photographers of the United 
States" and recently has been approved by the American Fulbright 
Commission's national screening committee to receive a Fulbright fellowship in 
photography in support of Surface Anatomy. Mr. Attie's earlier photographic 
work was concerned chiefly with urban landscape. More recently, he has 
completed a project entitled DSM-III (Diagnostic and Statistical Manual, 3rd 
edition) which explores the relationship between image making, diagnosis, and 
the medical body. 

He received his education at the University of California at Berkeley 
where he graduated Phi Beta Kappa and at San Francisco State University. In 
addition to a formal art education, Mr. Attie received undergraduate and 
graduate training in anatomy, physiology, and psychology. These studies 
together with his work as a professional psychotherapist and physical therapist 
equip him especially well for a photographic project focusing on the relationship 
between medicine and geopolitical landscape. He has been a professor of 
psychology at City College of San Francisco since 1984. Mr. Attie has lived in 
Israel and Europe and has resided in San Francisco since 1978. 



SHIMON ATTIE 



I. Education 

1980 Bachelor of Arts, University of California, Berkeley, CA 

1982 Master of Arts, Antioch University, San Francisco, CA 

II. Selected Awards 

1990 Fulbright Grant in support of Surface Anatomy 

(American approval) 
198 9 Juror's Cash Award, Orange County Center for 

Contemporary Art, 

Kerry Brougher, Curator, The Museum of Contemporary 

Art, Los Angeles, CA 
198 8 Photo Metro Magazine, Competition finalist 

198 7 "Top 100 New Photographers of the United States," 

Maine Photographic Workshop 
1987 Artist's Society International Achievement Award 

1980 Phi Beta Kappa (U.C. Berkeley) 

1980 Highest Honors (U.C. Berkeley) 

1975 High School Valedictorian (rank: 1/430) 

197 5 National Merit Finalist 

III. Selected Exhibitions 

1990 One Person Show, University of Alaska 

1990 Gallery 219, San Francisco, CA 

198 9 Orange County Center for Contemporary Art 

1989 Photowork '89, Catherine Evans, Curator, NY MOMA 

198 9 ProArts, Mary Jane Jacobs, Curator, LA MOCA 

1989 Alternatives '89, Thomas Barrow, Curator, Univ. of Ohio 

198 9 Wexner Center for the Visual Arts, Ohio State University 

198 9 Gallery House, Palo Alto, CA 

198 8 One Person Show, San Francisco State University Art Gallery 

198 8 Bruce Velick Gallery, San Francisco, CA 

198 8 Catherine Smith Gallery, Appalachian State Univ., Boone, NC 

198 7 Jacob Javitz Convention Center, New York, NY 

198 7 Chuck Levitan Gallery, New York, NY 

198 7 Alexandria Museum, Visual Art Center, Alexandria, LA 

19 87 Bay Area Emerging Artists, SF Camerawork, San Francisco, CA 

1987 Selections, The Eye Gallery, San Francisco, CA 



1987 Kansas City Artists Coalition Gallery, Kansas City, MO 

198 6 Chenery Cowles Museum, Tacoma, WA 

19 86 Phinney Photography Center, Seattle, WA 

1986 Climate Gallery, San Francisco, CA 

198 5 College of the Redwoods, Fort Bragg, CA 

1984 Expose Gallery, San Francisco, CA 

IV. Selected Publications 

1989 Artweek. Vol. 20, Number 8, February issue, Oakland, CA 

19 89 California Art Review, American References, Chicago, IL 

198 8 Photo Metro . October issue, San Francisco, CA 

198 6 The Photo Review. Winter issue, Langhorne, PA 

1985 Photo Metro . December issue, San Francisco, CA 

19 8 5 International Journal of Health & Medicine . The Theory 

and Practice of Structural Integration, July issue, 
San Francisco, CA 

V. Vocational Information 

1983-90 Professor of Psychology, City College of San Francisco, 

San Francisco, CA 
1982-90 Psychotherapist and Physical Therapist, private practice, 

San Francisco, CA 
198 4 License received in Marriage, Family, & Child Counselling 

VI. Professional Photographic References 

Jack Welpott, Inverness, CA 
Catherine Wagner, San Francisco, CA 
Meridell Rubenstein, Santa Fe, NM 
Lewis DeSoto, San Francisco, CA 



Shimon Attie 

100 Hermann St., #1 
San Francisco, CA 94102 
Phone: 415-621-1059 




VISUAL ARTS COMMITTEE MEETING 



45 Hyde Street 

Suite 319 

Son Francisco. CA 94102 

415 558 3463 



WEDNESDAY, MARCH 28, 1990 

The regular monthly meeting of the Visual Arts Committee 
will be held on Wednesday, March 28, 1990 in the Lurie Room 
of the San Francisco Public Library at Larkin and McAllister 
in the Civic Center. The meeting will take place at 3:00 PM. 



MAYOR 
Art Agnos 



AGENDA 



COMMISSI ONERS 

Robert F. LaRocca 
President 

Nancy Boas 
Vice President 

Vernon Alley 

Stanley Elchelbaum 

Kim Fowler 

Daniel Genera 

AmeHeary 

John Krlken 

Amelia Mesa-Bains. Ph.D. 
JRal V. Okamoto 

-odle Rosekranj 
_. arbara Sklar 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



I. Approval of Minutes: February 21, 1990 

II. SAN FRANCISCO ARTS COMMISSION GALLERY: (Anne Meissner) 
-Request approval for exhibition Liquid Eye! i ner 
-Festival 2000 Update 

-Open Studios 1990 (Dan Pogralis, Chair; Jeff 
Nathanson, Director) 

III. ART ENRICHMENT: Market Street Design Team Contract 
(Jill Manton) 

IV. ART ENRICHMENT: Richmond Police Station Artist 
Presentation (Shelley Jurs, Lt. Thomas Suttmier, Peter 
Wong , Jill Manton) 

V. ART ENRICHMENT: Main Library/Civic Center (Jill 
Manton) 



VI 



PRIVATE SUBMISSION: Goddess of Democracy/Portsmouth 
Square 



VII. NEW BUSINESS: 

-The Role of the Commissioner vis-a-vis Staff 



VIII. OLD BUSINESS 

-$5,000 Grant from Flesishhaker Foundation Award 
-Coit Tower Barrier System Progress Report 

IX. ADJOURNMENT 



3.22.90 
dnl 




VISUAL ARTS COMMITTEE MINUTES 



March 28, 1990 



The regular monthly meeting of the Visual Arts Committee was 
suited * held on Wednesday, March 28, 1990 at 3:00 pm in the Lurie 

son Francisco, ca wio2 room of the San Francisco Main Library at Larkin and 

415 558 3463 u „,„. . 

McAl 1 i ster . 



ROLL CALL: 



COMM ISSIONERS PRESENT 



COMMISSIONERS ABSENT 



MAYOR 
Art Agnos 



COMMISSIONERS 

Robert F. LaRocca 
President 

Nancy Boos 
Vice President 

Vemon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
AnneHeaty 
John Krfken 

Amalla Mesa-Bains. Ph.D. 
Ral Y. Okamoto 
^pdle Rosekrans 
"irbara Sklar 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



STAFF PRESENT: 



There being 
business. 



Anne Healy - Chair 
Nancy Boas 
Amalia Mesa-Bains 
Robert LaRocca 

Jill Manton 
Tonia Macnei 1 
Debra Lehane 
Anne Meissner 



a quorum the Committee proceeded to its formal 



DISCUSSION: The following subjects were thoroughly 
discussed and administrative directives suggested (where 
appropri ate ) . 

SUBJECTS/ADMINISTRATIVE DIRECTIVES/DISCUSSION 

I. APPROVAL OF MINUTES 

The minutes from the February 21, 1990 meeting were approved 
in a motion made by Commissioner LaRocca. Consensus was 
unanimous. 



II 



ART ENRICHMENT: MARKET STREET 



Jill Manton and Commissioner Healy discussed the strengths 
of the design team of Delaney, Cochran and Kos selected for 
the Market Street Art in Transit Master Plan. A motion was 
passed authorizing the Director to enter into contract with 
the selected design team. Commissioner Mesa-Bains thanked 
Ms. Manton for all her hard work on this project. 

III. ART ENRICHMENT: MAIN LIBRARY 

A selection committee for the Library art enrichment project 
has been selected and the first task of the committee is to 
add an artist to the design team to work with the 
architects. The panelists for the selection committee are 
(cont. ) 



PAGE 



VISUAL ARTS COMMITTEE MINUTES/MARCH 28 & 30, 1990 

III. ART ENRICHMENT: MAIN LIBRARY (CONT.) 

Commissioner Anne Healy for the Arts Commission, 
Commissioner Roselyne Swig for the Library Commission, 
Amando Rascon, Anne MacDonald, and John Caldwell. Panelists 
along with the Visual Arts Committee will generate a list of 
artists to be considered. A list of criteria has been 
prepared and Commissioners will be informed of the library 
programs as well. Commissioner Mesa-Bains raised concern of 
the community use issues. 

IV. ARTS COMMISSION GALLERY 

Anne Meissner introduced for approval the exhibition titled 
"Liquid Eyeliner: an exposition of beauty mainlined" 
scheduled for May 17 - June 24, 1990. It will include both 
performance and visual art and coincides with several events 
including Gay Pride Week and the National Aids Convention. 
Darryl Alvarez as the curator was introduced. Eighteen 
artists will be included. A more complete list of artists 
and their work was presented. The show addresses cross- 
dressing and the politics of gender. Commissioner LaRocca 
asked if the performances would be reviewed in advance. 
Commissioner Mesa-Bains asked if the Commission was prepared 
for a critical outcry. The goal of the exhibition is 
education not shock according to Mr. Alvarez. If needed, 
some works will be identified as "adult" only material. 
Commissioner LaRocca warned Ms. Meissner that the Commission 
Director needs to be fully informed with no surprises. Ms. 
Meissner then showed some slides to the Committee. Concern 
was expressed that not enough time had been allowed for the 
consideration of this exhibition. A motion to approve the 
exhibition was passed. 

V. ARTS COMMISSION GALLERY: FESTIVAL 2000 

Director Meissner indicated that the gallery was working to 
comply with the guidelines of Festival 2000. The Festival 
is awaiting a proposal from the gallery. 

VI. ARTS COMMISSION GALLERY: OPEN STUDIOS SF 

Dan Pogralis and Jeff Nathanson were introduced to the 
Commissioners as the coordinators of the San Francisco Open 
Studio scheduled for November. They now have an office at 
the South of Market Cultural Center. 

VII. ART ENRICHMENT: RICHMOND POLICE STATION 

Debra Lehane introduced to the Committee artist Shelley Jurs 
who presented a maquette of her stained glass design for the 
(cont. ) 



PAGE - 2 



VISUAL ARTS COMMITTEE MINUTES/MARCH 28 & 30, 1990 

VII. ART ENRICHMENT: RICHMOND POLICE STATION (CONT.) 

Richmond Police Station. Lt. Thomas Suttmeir and architect 
Peter Wong supported the design. Color and jewel samples 
were shown to the commissioners. A motion to approve the 
design and to enter into contact with the artist was passed. 

VIII. PRIVATE SUBMISSION: GODDESS OF DEMOCRACY 

Commissioner Healy reviewed the criteria for consideration 
of the Goddess Statue for Portsmouth Square. The Visual 
Arts Committee will be considering acceptance of the work on 
a temporary or permanent basis, the aesthetic elements of 
the piece including scale, material, base, placement, 
interaction with the park and the park users and the 
original vs. replica nature of the work. 

Henry Der began the formal presentation for the Goddess of 
Democracy Steering Committee. Mr. Der gave a history of the 
project and how the proposal was conceived. A stack of 
petitions was presented to the Visual Arts Committee and 
accepted. Mr. Kevin Fang, a Chinese Graduate student spoke 
concerning the importance of the statue. The Steering 
Committee proposal of a 10' cast bronze figure on a 4-1/2' 
high base to be placed in the front portion of the upper 
plaza was formally presented. 

Slides were then shown of the work of Thomas Marsh. Mr. 
Marsh's work was reviewed to determined ability to oversee 
the technical processing of a large statue. A demonstration 
of the technique used to sculpt the concrete model was also 
given by Mr. Marsh and Patrick Lau. 

Brian Lasko from Lawrence Halprin's office presented the 
design of the base measuring 4-1/2 x 11 x 16' in a cascading 
fashion to be made of sierra white granite. The base would 
weigh 9700 pounds with a 800 pound bronze sculpture on top. 

Discussion and comments from the Commissioners were heard 
concerning the proposal. 

Commissioner Healy expressed concern for the scale in 
relation to the park and asked why the piece had been scaled 
up. Mr. Der responded that the Steering Committee had a 
Technical Advisory Committee which had made the 
recommendation . 

Commissioner Mesa-Bains discussed the nature of the original 
spontaneous work to the replica and whether the same feeling 
could be transferred. The scale was again identified as too 
large and the placement was also a problem. 
( cont . ) 



PAGE 



VISUAL ARTS COMMITTEE MINUTES/MARCH 28 & 30, 1990 
VIII. GODDESS OF DEMOCRACY (CONT.) 

Commissioner Healy agreed that the size of the base was too 
large for the statue and the park. The location at the top 
of the stairs interfered with park use. Approval of the 
collaborative nature of the work was expressed. 
Commissioner Healy asked Debra Lehane to comment on the 
white bronze patina being proposed. A letter from Donna 
Warner, Production Manager for the Johnson Atelier Foundry 
in New Jersey was read. The letter identified problems with 
the permanency of the white patina. The foundry has 
abandoned the white patina and is using an automotive paint 
instead. 

Deborah Learner from the Recreation and Park Department 
stated concerns for maintaining greenery in the park. Ms. 
Learner also commended the Visual Arts Committee for the 
care which it was exercising the in the consideration of 
this gift. 

Commissioner Robert LaRocca discussed the proposed siting of 
the work. The ceremonial nature of the different sites was 
considered. Criteria for places was discussed. Placement 
of the statue should allow for free circulation of the park 
users. The height should not be too domineering. White 
makes objects appear larger. Commissioner LaRocca agreed 
with the other commissioners that the sculpture and base 
should be smaller. Due to the symbolic nature of the work, 
temporary siting in the park was proposed. 

Commissioner Nancy Boas asked Debra Lehane to give a review 
of the "Goddess" proposals which have been submitted to 
other cities. Commissioner Boas thought the white color 
would attract graffiti. Eight feet is considered to be a 
"heroic" scale for statuary and a more appropriate size for 
the park. The idea of a temporary installation appealed as 
well. A 12 month time period was suggested. 

Commissioner Healy noted that a temporary installation would 
allow time to judge public reaction. 

Deborah Learner reviewed the construction timeline. The 
area of Portsmouth Square in which the statue would be 
placed would not be ready for two years (Spring 1992). 

Commissioner LaRocca proposed a motion to place an 8' bronze 
statue on a 2 ' base at the top of the stairs location for a 
temporary (12 month) period after construction of the park 
has been completed. At the end of 12 months, the location 
would be re-evaluated and cost of removal would be the 
responsibility of the sponsor, 
(cont. ) 



PAGE 



VISUAL ARTS COMMITTEE MINUTES/MARCH 28 & 30, 1990 
VIII. GODDESS OF DEMOCRACY (CONT.) 

There was no second and Commissioner LaRocca withdrew his 
motion. 

It was decided to recess the meeting and to continue the 
discussion at a date and time to be announced. 

The meeting was recessed at 5:55 pm. 

VISUAL ARTS COMMITTEE MINUTES CONTINUED 

The Visual Arts Committee Meeting was reconvened, Friday 
March 28, 1990 at 3 PM in Room 317 of the Civic Auditorium. 
All Commissioners were present. 

Commissioner Healy advised the public that public testimony 
would now be closed and that the Commissioners would discuss 
the item to reach a consensus. 

Commissioner LaRocca explained his reasons for proposing a 
temporary siting of the statue. Once democracy comes to 
China, there will be new artistic expression which will 
represent freedom. The Goddess represents a transitional 
period. Concern for the mass reproduction of piece was 
expressed since it loses it artistic and dramatic import. 
To permanently place the piece, Commissioner LaRocca 
requested that other colors and sites be considered. 

Commissioner Healy was impressed with the community support 
for the statue and realized the desire of the community. 
She would have preferred a more democratic process in the 
selection of an image through an open competition. This 
would have produced a more creative memorial rather than 
replicating the Tiannamen Square figure. 

Commissioner Boas recognized the importance of the work as a 
symbol and also thought a competition would have been more 
appropriate. She stated that temporary materials has a 
virtue and loses something in the reduced figure. She also 
stated concerns about the replica and concerns about a 
possible edition. Both Commissioner Boas and Commissioner 
Healy asked if there were plans for an edition and who would 
own the copyright. 

Henry Der responded that there has been no discussion within 
the Steering Committee to replicate the image to other 
cities. The Steering Committee also wants to maintain the 
uniqueness of the Goddess and agreed not to carry the 
campaign to other municipalities. 
( cont . ) 



PAGE - 5 



VISUAL ARTS COMMITTEE MINUTES/MARCH 28 & 30, 1990 
VIII. GODDESS OF DEMOCRACY (CONT.) 

Commissioner Mesa-Bains addressed the issue of original vs. 
replica noting the "power of the media" with this image. It 
is not an original, but a historic collaborative piece. The 
Arts Commission has a responsibility to exercise aesthetic 
choices in order to feel comfortable with a replica so that 
it can consider the acceptance of the gift. 

The three possible sites on the upper terrace of Portsmouth 
Square were identified. Site A at the front of the central 
plaza toward Kearny, top of the stairs. Site B in the 
planting area between the central and south plazas. Site C 
the semicircle area to the back of the central plaza near 
Walter Lum Place. 

The problem with site A according to Commissioner LaRocca 
was the figure having her back to the public using the 
central plaza. Site B was near a column for strength and 
allows the figure to interact with the park users. A more 
human scale of 8' was preferred. 

Commissioner Mesa-Bains preferred site B. Site B would 
allow better flow of foot traffic, would provide a more 
appropriate place for the statue to "live" in the square. 
Preference for the 8' figure was stated. 

Commissioner Healy stated the need for a more intimate 
setting for choosing Site B. Scale should be 8' statue on a 
2'x 3'x 3' base with an appropriate bronze patina. 

Commissioner Boas agreed with Site B and a bronze patina 
other than white. She also asked the Steering Committee for 
a response to temporary placement. 

On behalf of the Goddess of Democracy Steering Committee, 
Henry Der, indicated that it had always been the intent of 
the group to site the piece permanently and that there were 
strong feelings for permanent placement held by the 
community . 

Tom Marsh requested a reconsideration of site and color. 

Mr. Der asked for the ability to design a 2-3' high base and 
advised the Committee of a donation of lights by PGE for the 
lighting of the statue. Mr. Der was advised that lighting 
would also be reviewed by the Visual Arts Committee. 

The following motion was moved, seconded and unanimously 
approved. The Visual Arts Committee moved to approve the 
permanent installation of the Goddess of Democracy bronze 
(cont. ) 



PAGE 



VISUAL ARTS COMMITTEE MINUTES/MARCH 28 & 30, 1990 

VIII. GODDESS OF DEMOCRACY (CONT.) 

statue for Portsmouth Square. The Goddess figure is to be 
8' from head to foot with a green or brown patina, placed on 
an 2-3' by 3' by 3' base of white granite, located in Site 
"B" (defined as the planting area between the south and 
central plazas on the upper terrace). The statue will be a 
single cast sculpture with no editions and subject to the 
following reviews by the Arts Commission; review of 
maquette, mold, casting, patina, base design and text, 
lighting, and final inspection prior to installation. 

IX. OLD BUSINESS: GALLERY EXHIBITION "LIQUID EYELINER" 

At the request of the Visual Arts Committee, Gallery 
Director Anne Meissner and Curator Darryl Alvarez returned 
to discuss the exhibition "Liquid Eyeliner". 

The Commissioners were concerned about impressions left from 
the slides which had been viewed at the Wednesday, March 
28th meeting. It was the general opinion of the Committee 
that the Curatorial Committee of the Gallery needed to be 
more focused. More time needed to be allowed to review the 
concepts prior to the exhibitions and the Visual Arts 
Committee requested more thorough presentations of the 
exhibition concepts. Specific questions were asked about 
the artists, how their pieces relate to the exhibition theme 
of cross dressing or gender. Director Isaacs also suggested 
that the Commission should have assistance with Public 
Relations when sensitive material such as this exhibition is 
presented. It was agreed to postpone the exhibition until 
June 30, allowing time for videos and works to be reviewed 
by the Gallery Curatorial Committee. A joint meeting of the 
Visual Arts Committee and the Gallery Curatorial Committee 
was requested to be arranged. The motion to approve the 
exhibition will be pulled from the Monday April 2 consent 
calendar and further discussion of the exhibition scheduled 
for the April 18th Visual Arts Committee meeting. 

REPORTS AND ORDERS: 

1. Motion to authorize the Director of Cultural Affairs to 
enter into contract with the Design Team of Delaney and 
Cochran, naming artist Paul Kos as the principal sub- 
contractor, for the creation of a Market Street Art in 
Transit Program Master Plan at a total fee of $20,000 to 
be divided among the three participants. 
Motion: Robert LaRocca 
Consensus: Unanimous 

(cont. ) 



PAGE 



VISUAL ARTS COMMITTEE MINUTES/MARCH 28 & 30, 1990 
REPORTS AND ORDERS: (CONT.) 

2. Motion to approve for the San Francisco Arts Commission 
Gallery the exhibition "Liquid Eyeliner: an exposition 
of beauty mainlined" scheduled for May 17- June 24, 
1990. 

Motion: Anne Healy 
Consensus: Unanimous 

3. Motion to authorize the Director of Cultural Affairs to 
enter into contract with artist Shelley Jurs for the 
design, fabrication and installation of an original 
stained glass art work for the front entry doors and 
interior transom of the Richmond Police Station for an 
amount not to exceed $25,000. 

Motion: Robert LaRocca 
Consensus: Unanimous 

4. Motion to approve the permanent installation of the 
Goddess of Democracy bronze statue for Portsmouth 
Square. The Goddess figure is to be 8' from head to 
foot with a green or brown patina, placed on an 2-3' by 
3' by 3' base of white granite, located in Site "B" 
(defined as the planting area between the south and 
central plazas on the upper terrace). The statue will 
be a single cast sculpture with no editions and subject 
to the following reviews by the Arts Commission: 
review of maquette, mold, casting, patina, base design 
and text, lighting, and final inspection prior to 

i nstal 1 ation . 

Motion: Anne Healy 

Consensus: Unanimous 

There being no further business, the meeting was adjourned 
at 5:30 PM. 

Submitted by 

Debra Lehane 
Collections Manager 
4/9/90 



PAGE 




VISUAL ARTS COMMITTEE MEETING 
WEDNESDAY, APRIL 18, 1990 

45 Hyde Street 

Suiie3i9 The regular monthly meeting of the Visual Arts Committee 

4is 558 '3.163 will be held on Wednesday, April 18, 1990 in Room 302 (3rd 
Floor) of the San Francisco Department of Public Health at 
101 Grove Street on the corner of Grove and Polk Streets. 
The meeting will take place at 3:00 PM . 

A G E N D A 



COMMISSIONERS 



Robert laRocca 
Vice President 
Vernon Alley 
Timothy Duncan 
Stanley Eichelbaum 
|n Hanson 
William Paterson 
Anna-Marie B. Metwally 
George T. Rockrise 
JJM°r Rodriguez 

3f<£jyne C. Swig 
_J ~M. Warburg 

EX OFFICIO MEMBERS 
Presidents ol the 
Fine Arts Museum, 
library Commission. 
Planning Commission, 
Recreation and Park 



DIRECTOR 
Claire N. Isaacs 



I. Approval of Minutes: March 28, 1990 

II. ART ENRICHMENT: Authorization to enter into contract 
witli Gary Graham for Great Sea Wall Medallion (Gary 
Graham, Susan Pontlous) 

III. ART ENRICHMENT: Approval of Program Outline: Mental 
Health Skilled Nursing Facility (Phyllis Harding, 
Susan Pontious) 

IV. ART ENRICHMENT: Approval of Budget and Concept for 
San Andreas Water Treatment Facility Phase 2 
Expansion (New Project) (Jim Wallsten, UEB, Miles 
Stevens, Architect for CDM , Tonia Macneil) 

V. COLLECTIONS: Gift Policy (Debra Lehane ) 

VI. ART ENRICHMENT: Report on Main Library (Jill Manton ) 

VII. ART ENRICHMENT: Market Street Transit Shelter 
Program, Review of Children's Art (Jill Manton) 

VIII. ART ENRICHMENT: Review and approval of program for 
Moscone Expansion Art Enrichment (Germaine Wong, 
CAO ' s Office, Ronette King and Clonia Cautis, 
Gensler and Assoc., Tonia Macneil) 



IX. SAN FRANCISCO ARTS COMMISSION GALLERY: (Anne 
Meissner ) 

-Review of Exhibition Liquid Eyeliner 
-Request approval for exhibition of large scale 
murals and sculptures (title to be announced) 
-Request approval of Festival 2000 exhibition 
concept 

X. NEW BUSINESS: 

-The role of the Commissioner vis-a-vis Staff 
-Art Enrichment: New Sheriff's Facility (Susan 
Pontious ) 



XI. 
XII 



OLD BUSINESS 
ADJOURNMENT 




15 Hyde Street 

Suite 319 

Son Francisco, CA 94102 

415 558 3463 



VISUAL ARTS COMMITTEE MEETING 

CONTINUATION OF REGULAR MEETING 

FRIDAY, APRIL 20, 1990 



MAYOR 
Art Agnos 



A continuation of the regular meeting of the Visual Arts 
Committee will be held on Friday, April 20, 1990 at the 
offices of LaRocca and Associates, 90 New Montgomery, Suite 
1010, at Mission Street. The meeting will take place at 
3:00 PM. 



COMMISSIONERS 

Barbara Sktar 
President 

Nancy Boas 
Vice President 

Vernon Aley 
Stanley Etahelbaum 
Kim Fowler 
Daniel Genera 
Anne Heaty 
John Krlken 
Robert F. LaRocca 
Amallo Mosa-Balns, Ph.D. 
n ^^' Okamoto 
W -tosekrans 



AGENDA 

I. ART ENRICHMENT: Approval of Concept and Budget and 
selection of artist for San Andreas Water Treatment 
Facility Phase 2 Expansion. Jim Wallsten, UEB, Tonia 
Macneil ) 

II. ART ENRICHMENT: Review of slides for the large wall 
for Moscone Center Expansion Art Enrichement. (Tonia 
Macneil ) 

III. NEW BUSINESS 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



IV. OLD BUSINESS 

V. ADJOURNMENT 



DIRECTOR 
Claire N. Isaacs 




VISUAL ARTS COMMITTEE MINUTES 
Apr i I 18, 1 990 

45 Hyde Street 
Suite 319 

San Francisco, c a 94102 The regular monthly meeting of the Visual Arts Committee was 
held on Wednesday, April 18, 1990 at 3:00 pm in Room 320 of 
the San Francisco Department of Public Health at 101 Grove 
Street. 



MAYOR 
ArtAgno 



Commissioner Healy called the meeting to order at 3:17 pm. 
Roll: Commissioners Present Commissioners Absent 



COMMISSIONERS 

Barbora Sklar 
President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Kriken 
Robert F. LaRocca 
Amalla Mesa-Bains, Ph.D. 
Ral Y. Okomoto 
' ■ j Rosekrans 



Anne Healy - Chair 
Nancy Boas 
Robert LaRocca 

Staff Present: Jill Manton 

Ton i a Macnei I 
Susan Pontious 
Debra Lehane 



Amalia Mesa-Bains 



I 



APPROVAL OF MINUTES for March 28, 1990 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Clolre N. Isaacs 



The minutes of the March 28th meeting were amended as follows: 
Item No. VIII, p. 5: The Motion was seconded by Commissioner 
Boas, however Commissioner LaRocca withdrew his motion. 
Commissioner LaRocca moved and Commissioner Boas seconded to 
approve the minutes as corrected. The ayes were unanimous. 

II. ART ENRICHMENT: GREAT SEA WALL MEDALLION 



Artist Ga 
granite a 
f ol lowed 
medal 1 i on 
surfaces . 
woul d all 
completed 
concept a 
into cont 
design an 
Commi ssio 



ry Graham 
nd marble 
concerni ng 

and the p 

Mr. Grah 

eviate tha 

projects . 
nd proposa 
ract with 
d material 
ner Boas s 



presented a design a 
mosaic for the Seawa 
the type of coating 
ossibility of slippi 
am explained that th 
t problem and offere 
Commissioner LaRoc 
1 of the artist Gary 
him for the artwork 
s for a total amount 
econded. The motion 



nd materials for a 

11 Project. Discussion 

planned for the 
ng on the rock 
e grout in the piece 
d examples of other 
ca moved to approve the 

Graham and to enter 
as presented with his 

not to exceed $10,000. 

passed unanimously. 



A short discussion followed concerning the visual qualities of 
the work. Commissioner Healy expressed the desire to review 
the work in the artist's studio before grouting. 



Page 



II. ART ENRICHMENT: MENTAL HEALTH SKILLED NURSING FACILITY 

Susan Pontious gave a summary of the project history and a 
description of the facility. Three areas for artist involvement 
have been established: the building itself, the exterior 
landscape and the arti sts-i n-residence project. Susan will apply 
for a California Arts Council Arti st-i n-Resi dency Program grant. 
Commissioner Mesa-Bains will be the liaison to the Selection 
Committee. The multicultural goals of the project and the makeup 
of the Selection Panel were discussed. Phyllis Harding of the 
Nursing Facility described how the building will be used and Rich 
Lowry.the project architect, presented the building design and 
site plan. Discussion followed concerning the program and the 
selection process. Commissioner LaRocca requested that final 
selection of the three artists be made from a number of choices 
presented to the Visual Arts Committee. 

Commissioner Healy moved to approve the program outline. 
Commissioner Boas seconded. 
The vote to approve was unanimous. 

III. ART ENRICHMENT: SAN ANDREAS WATER TREATMENT PLANT 
EXPANSION #2 

The Water Department is expanding and renovating its facilities 
at San Andreas to include an Ozone Treatment plant. Tonia 
Macneil presented an overview of the project, which involves a 
construction budget of $3.4 million and Art Enrichment of 
$72,000. She described the opportunity for artist involvement in 
the final design stage during the next few months and the need to 
move quickly to make a selection. 

Jim Wallsten of the UEB outlined the concerns of that agency and 
the Water Department. Tonia Macneil requested the Committee 
review slides of 9 artists who have worked with water. The 
Commissioners decided to hold the selection at a continuation of 
the regular meeting on Friday, April 20th. 

V. COLLECTIONS: GIFT POLICY 

At the request of Commissioner Healy, Debra Lehane drafted an 
extensive gift policy which she passed out for the Committee 
Members to read and discuss at the May meeting. 

(Commissioner Healy requested that the order of the agenda be 
altered at this point to accommodate the presence of members of 
Gensler and Associates to speak about the Moscone Project.) 



Page 



VIII. ART ENRICHMENT: MOSCONE ART ENRICHMENT 

Peter Gordon and Ronette King gave a brief presentation of the 
design for the facade of Moscone North and the possibilities 
created by removal of the east bridge from the Redevelopment 
Agency's designs. Tonia Macnei 1 presented a series of slides 
suggesting possible directions to pursue for exterior sites. 
Robert LaRocca suggested that the exterior site be handled as a 
single environmental zone. Commissioner Healy moved to have the 
Committee treat the exterior area related to Moscone Expansion 
conceptually as a whole for purposes of Art Enrichment. 
Commissioner Boas seconded the motion. The ayes were unanimous. 
Commissioner Healy moved that the first priority of the Committee 
will be to consider the "Large Wall" because of the impending 
deadline in early 1991. Commissioner seconded. The motion was 
passed unanimously. 

(The order of the agenda was again changed to accommodate outside 
visitors. Item no. VI, Art Enrichment Report on the Main 
Library, was continued until the regular meeting of the Committee 
in May . ) 

IX. ARTS COMMISSION GALLERY: REVIEW OF EXHIBITION- Liquid 
Eyel i ner 

Anne Meissner, Gallery Director, presented a revised concept and 
dates for LIQUID EYELINER. The exhibition will be an 
installation through which viewers move, illustrating the 
experience of cross-dressing. Pieces which were of concern to 
the Commission have been eliminated. Discussion followed 
concerning the process by which the new concept was developed and 
how video and performance will be handled. The new dates for the 
exhibition are June 21 through July 28. 

Commissioner Healy moved to approve the exhibition LIQUID 
EYELINER. Commissioner LaRocca seconded. The motion was passed 
unanimousl y . 

IX. ARTS COMMISSION GALLERY: EXHIBITION APPROVAL 

Anne Meissner, requested concept approval for an exhibition 
entitled "Equations" scheduled for May 10 through June 9. 
The concept refers to taking objects out of context of the 
environment and recontextual i zi ng them in the art space. 
Exhibiting artists are John Ammirati, Seymour Locks, Kevin Radley 
and RIGO 90. Commissioner Boas moved to approve the exhibition 
concept. Commissioner Healy seconded. Ayes were unanimous. 



Page - 3 



(Commissioner LaRocca was excused from the meeting at 6:00 PM) 

IX. ARTS COMMISSION GALLERY: FESTIVAL 2000 

Director Meissner asked for approval of exhibition concepts for 
the Gallery in relation to Festival 2000. The exhibition inside 
the gallery will be critic's choice. Critics will be identified 
who are particularly concerned with multicultural issues. A 
publication will be produced, defining the artwork as a benchmark 
of what is happening today. The outdoor exhibition will include 
two artists working collaboratively to produce a cross-cultural 
statement. Festival 2000 will provide funding in the amount of 
$10,000 to be matched by California Arts Council monies. 
Commissioner Healy moved to approve the concepts for the 
exhibitions provided that the gallery continues to work with 
Festival 2000. Commissioner Boas seconded. The motion was 
approved unanimously. 

VII. ART ENRICHMENT: CHILDREN'S ART FOR BUS SHELTERS 

Jill Manton, project coordinator, reviewed the scope of the 
project, in which Gannett will install 26 4' x 6' posters created 
by children in the advertising kiosks on Market Street. Noting 
the ethnic diversity of the participants, she presented poster 
designs by 7 semi-finalists and asked the Committee to select 4 
finalists. The Committee selected five out of the seven. 
Commissioner Healy moved to approve selection of 5 children's 
designs fo reproduction as posters to be placed in the Market 
Street Bus Shelters, and to authorize the Arts Commission to 
expend the funds necessary to execute this project. Commissioner 
Boas seconded. The motion passed unanimously. 

X. ART ENRICHMENT: NEW SHERIFF'S FACILITY 

Jill Manton and Susan Pontious gave an overview of the project, 
presenting elevations of the building and describing the need to 
move quickly to bring an artist into the planning stage. The 
budget for art enrichment at the site will be from $300,000 to 
$600,000. Commissioner Boas noted the need for art at the site 
to be uplifting. The committee asked that the artists produce 
work for the exterior public facades and the interior program 
areas. Susan Pontious requested that the Committee approve 
selection of artists by invitation and review at a special 
meeting of the Committee in early May. Commissioner Healy moved 
to approve the program concept, including the selection process 
and timeline for Art Enrichment at the New Sheriff's Facility. 
Commissioner Boas seconded. The motion passed unanimously. 



Page 



The meeting was continued until Friday, April 20 at 3:00 pm at 
the offices of LaRocca and Associates, 90 New Montgomery, 
Suite 1010, San Francisco. 

The meeting was recessed at 6:30 PM . 

VISUAL ARTS COMMITTEE MEETING CONTINUED 

The Visual Arts Committee Meeting was reconvened Friday April 20, 
1990 at 3 PM at the offices of LaRocca and Associates, 90 New 
Montgomery Street, Suite 1010. Roll Call: Anne Healy - Chair, 
Robert LaRocca, Nancy Boas. 

The meeting was called to order at 3:15. 

III. ART ENRICHMENT: SAN ANDREAS WATER TREATMENT PLANT 

The Committee continued their discussion of Art Enrichment for 
San Andreas Water Treatment Plant Expansion #2. Jim Wallsten of 
UEB explained the parameters of the project. Tonia Macneil 
presented the work of 9 artists who had been invited to submit 
slides for review. After lengthy discussion, the Committee 
selected Tim Collins and asked that his wife Reiko Goto be 
invited to collaborate as an equal partner. The Committee 
identified guidelines for the project, asking for artwork which 
is visitor oriented and educational. Commissioner Boas moved to 
approve the selection of artists Reiko Goto and Tim Collins to 
produce artwork for San Andreas Water Treatment Plant with a 
total budget not to exceed $64,800. Commissioner LaRocca 
seconded. The ayes were unanimous. 

VIII: ART ENRICHMENT: MOSCONE ART ENRICHMENT 

Discussion continued concerning the exterior spaces available 
for installation of art at Moscone Center. Tonia Macneil asked 
the Committee to include the outdoor site next to the Esplanade 
Ballroom in the definition of the exterior area. Commissioner 
Boas noted the opportunity to identify a large wall and sidewalk 
area east of Moscone North as a possible site for artwork, and 
suggested that the Committee make their interest in this area 
known to Redevelopment. Commissioner Healy reaffirmed the 
Committee's vote to define the exterior sites as a single 
environment rather than a series of discrete sites. 



Page 



REPORTS AND ORDERS 

1. Ordered: Motion to approve the concept and proposal of 

the artist Gary Graham and to enter into 
contract with him for the artwork as 
presented with his design and materials for a 
total amount not to exceed $10,000. 
Motion: Robert LaRocca 
Vote: Unanimous 

2. Ordered: Motion to approve the program outline for Art 

Enrichment for the Mental Health Skilled 
Nursi ng Faci 1 i ty . 
Motion: Anne Healy 
Vote: Unanimous 

3. Ordered: Motion to approve the treatment of Moscone 

Center Expansion exterior areas conceptually as 
a whole for the purposes of Art Enrichment. 
Moved: Anne Healy 
Vote: Unanimous 

4. Ordered: Motion to make the first priority of the 

Committee the selection of art for the "Large 

Wall" because of the impending deadline in 

earl y 1991. 

Moved: Anne Healy 

Vote: Unanimous 

5. Ordered: Motion to approve the exhibition LIQUID 

EYELINER to be exhibited June 21 through July 

28. 

Moved: Anne Healy 

Vote: Unanimous 

6. Ordered: Motion to approve the exhibition concept for 

EQUATIONS to be exhibited May 10 through June 

9. 

Moved: Nancy Boas 

Vote: Unanimous 

7. Ordered: Motion to approve the exhibition concepts for 

the gallery in relation to Festival 2000 
provided the gallery continues to work with 
the Festival 2000 Committee. 
Moved: Anne Healy 
Vote: Unanimous 



Page 



8. Ordered: Motion to approve selection of 5 children's 

designs for reproduction as posters to be 
placed in the Market Street Bus Shelters, and 
to authorize the Arts Commission to expend 
the funds necessary to execute this project. 
Moved: Nancy Boas 
Vote: Unanimous 

9. Ordered: Motion to approve the program concept, 

including the selection process and timeline 

for Art Enrichment at the New Sheriff's 

Faci 1 i ty . 

Moved: Anne Healy 

Vote: Unanimous 

10. Ordered: Motion to approve the selection of artists 

Reiko Goto and Tim Collins to produce artwork 
for San Andreas Water Treatment Plant with a 
total budget not to exceed $64,800. 
Moved: Nancy Boas 
Vote: Unanimous 



There being no further business, the meeting was adjourned at 
5:15 PM. 



Subflii tted , 




Toni a Macnei 1 

Curator, Public Art Program 



5/2/90 



Page 



ART ENRICHMENT FOR SKILLED MENTAL HEALTH NURSING FACILITY: 
PROGRAM OUTLINE 

PROJECT CONSTITUENCY: 

1. Clients, their families, and the staff of the facility 

2. General public, particularly neighboring businesses and residents 

PROGRAM GOALS: 

To create a multicultural, multifaceted art enrichment program that: 

1. Aesthetically enhances the building and grounds of the facility; 

2 . Integrates with therapy goals to help create an environment that 
feels safe and comfortable for the clients; 

3. Helps provide a sense of ownership for the clients through direct 
participation in the creation of an artwork for their facility. 

PROGRAM OBJECTIVES: 

Establish program areas for artist involvement that will address project 
constituencies and program goals. 

1. Building itself — interior and exterior 

2 . Landscape 

3. Artist-in-Residence project to work with clients to create artwork 
for facility. 

METHOD OF ACCOMPLISHMENT: 

General: 

1. Select 3 artists who will be commissioned to develop proposals for 
the three program areas listed above. It is expected that the 
artists will work closely with the project architects, landscape 
architect, L facility staff, and each other to develop an 
integrated art plan. 

2. Artists will review project guidelines and site recommendations 
previously developed by L Facility staff, and investigate other 
opportunities they see offered by the facility design. 

3. Based on their interaction with key personnel and review of the 
site plans and facility program, the artists will develop 
preliminary proposals for review and feedback from L Facility 
Advisory Committee and Art Commission staff, -t V/Y<L_ 

4. Based on the response to their preliminary proposals, artists will 
develop their final project proposals, which will be submitted to 
the L Advisory Committee staff and to the Art Commission for 
approval. 

5. Upon final approval, artists will be commissioned to execute their 
Proposals. , jKll l ir V.I^^ 

Artist-in-Residence Project: ''' 

1. Although the artist-in-residence project will not actually take 
place until after the facility is operating, it is essential to 
develop the program now so that 1) the design professionals can 
specify the appropriate construction treatment for the designated 
art sites, and 2) the AIR project will inter-face harmoniously with 
the rest of the art program for an integrated "whole" . 



2. Although one artist will be commissioned now to develop the 
program, more than one artist may be involved during the 
implementation phase. 

3. Funding for this phase of the program will be enhanced by applying 
for a grant from the California Arts Council's "Artists in 
Institutions" program (which will pay between 50 - 75% of the 
artist's fee during implementation of the program) . 

Artist Qualifications: 

1. Artistic excellence as evidenced by review of past work. 

2. Assessed ability to work cooperatively with other artists, staff 
and design professionals, and to be sensitive to the unique 
parameters demanded by the nature of a mental health facility. 

3. Artists' cultural background reflects the ethnic composition of L 
Facility clients. 



5ANDREA2.WPS4/12/90 



SAN ANDREAS WATER TREATMENT FACILITY EXPANSION, PHASE II 
ART ENRICHMENT PROGRAM 

Available budget: $72,000 

Program Constituency: 

1. City Engineering Staff 

2. National And International visitors and School 

Groups 

Program Goals: 

To provide art enrichment for San Andreas Water 
Treatment Facility that: 

1. Acknowledges the plant as the state-of-the-art 

"Flag Ship" of the City's Water Treatment 
f aci 1 i ties . 

2. Makes reference to the activities and processes 

associated with water delivery to San Francisco. 

3. Works to visually integrate with the architecture 

and site. 

4. Respects the operations and maintenance 

requirements of the facility. 

4. Is accessible and visible to Water Department 

personnel and the majority of visitors. 

5. Focuses on local and/or minority artists. 



"$ 



Program Objectives: 

1 . Concept Approval 

2. Artist Selection 

3. Project Selection 

Methods of Accomplishment: %iw W 

1. Through slide review, d e velop a sh m l-t-ibu w. 
U[Q artist(s) to be commissioned t o oub m4-tr— p-ropo«a-Ts . -jom.^ p"P}^ T 

"2^ TiTrott§+^~cevjjew of drawings arTa^modeJLs.*- se 1 ect— a-^ 

final pi^3pjasiff = ac'cT5TTlH : Sg^to^ with 
Sj*putr~Trom Facility users. ~ ■ 

Qua! if ications: 

1. Artistic excellence as evidenced by slide review of 

past work. 

2. Assessed ability to work conceptually with a 

complex site and to interact effectively with city 
agenci es . 

3. Experience in and interest in working with Water. 



'oioiti N\AWE4 



SAN ANDREAS WATER TREATMENT PLANT 
EXPANSION NO. 2 
ART ENRICHMENT 

TIMELINE 

April 5, 1990 

Initial meeting with CDM: John Toyoda, Miles Stevens, Andrea 
Lucas; UEB: Jim Wallsten and Elaine Cartwright; Arts 
Commission: Tonia Macneil 

April 11 

Memo to Elaine Cartwright requesting transfer of 
administrative funds and model fees. Contact artists for 
short list. 

April 18 

Presentation to Visual Arts Committee. Receive approval for 
budget, concept, selection process, and names of artists for 
short list. 



^ 



April 19 

UEB to announce art enrichment concept at Bond Committee 

Overview . 

Apri 1 % l-'h 

Meetings with UEB, CDM, and artists to establish parameters 

of the project. 

Ap<il 2 6 

Preserftat.i on by Public Art curator and const 

to Water Del 

Apri 1 18 - May 15 
Artists create proposals^ 

May 16 

Review of ppep'osals and final selectioTT^of an artist at the 

regul arjneeti ng of the Visual Arts Committee~> 

SeltjctTon committee to include representati ves TrT^-ELB , Water 

.Department and the consulting architects. 




Artists contacted: 



2fcl - qi'lk John Roloff^ 7 Francisco Per e z ^ -f^P> - £&fa / ■' C " ' ' 
) 4S~2- CO-tfCarl Cheng Anna Murchx/ "^T^r - 4 -u- fr o ^ '3 ; J -4 ##f 






£) n g£ . - /5'4V Bi 1 1 Maxwell^/ Allen Wilson^/ 
Z5^-8'1S^ Peter Richards Tiwi CoUlVl& v/ 



City and County of San Francisco 



v, 



Memorandum 



Art Commission 

Claire N. Innacs 
DIRECTOR 



DATE: April 16, 1990 

TO: Claire, Dennis, Jill, Tonia, Susan 

FROM: Debra 

SUBJECT: Gift Policy 

Commissioner Anne Ilealy has asked for a gift policy. 

I have drafted the attached document working from several 
different sources, including our Art Enrichment Guidelines and 
Recreation and Park Department Gift Policy. 

The gift policy is on the agenda for the Visual Arts Committee 
on Wednesday April 18. I would like for each of you to read and 
comment on the attached. The Commissioners will be given a copy 
at the VAC meeting. I expect them to take the policy, read it 
over and make comments at the next VAC meeting in May. 

Once we have a finished draft, I will have our City Attorney review 
it before submitting to the full commission. 

Thank you. 



45 HYDE STREET - ROOM 319 



SAN FRANCISCO. 94102 



DRAFT 1 DRAFT 1 DRAFT 1 DRAFT 1 DRAFT 1 DRAFT 1 

SAN FRANCISCO ARTS COMMISSION 

GIFT POLICY 

Policy for acceptance of Gifts to the City's Art Collection 

I . INTRODUCTION 

Every year many gifts of art are offered to the City and 
County of San Francisco. The City's Charter empowers the 
Arts Commission with the role of approving gifts which are 
considered to be "works of art". 

Charter section: 3.601 Arts Commission Functions, Powers 
and Duties 

"No work of art shall be contracted for or placed or erected 
on property of the city and county or become the property of 
the city and county by purchase, gift or otherwise, except 
for any museum or art gallery, unless such work of art, or a 
design or model of the same as required by the arts 
commission, together with the proposed location of such work 
of art shall first have been submitted to and approved by 
the commission." Works of art will be defined under 
def ini tions. 

The San Francisco Arts Commission is committed to 
maintaining the highest possible standards in the quality of 
work for the Civic Art Collection. 

II. DEFINITIONS 

Accessioning: The formal process used to accept and record 
an item as a collection object 

Deaccessioni ng : the formal process used to remove 
permanently an object from the Collection 

Collection object: an item which has been or is in the 
process of being accessioned into the Collection 

Visual Arts Committee: the sub-committee of the Arts 
Commission responsible for approvals relating to purchases, 
commissions and contract for the Visual Arts Program 

Visual Arts Program: the Art in Public Places Program and 
the Civic Art Collection 



Page 



ARTS COMMISSION GIFT POLICY DRAFT 1 

Art in Public Places Program: program which is governed by 
Ordinance No. 30-69 Sec. 3.13 for the adornment of proposed 
public structures 

Civic Art Collection: objects which have been accessioned 
and art considered to be part of the publicly owned art of 
the City and County of San Francisco 

San Francisco Arts Commission: charter mandated department 
governed by 12 members appointed by the mayor and five ex- 
officios members which governs the cultural affairs of the 
City and County of San Francisco (see charter for full 
descr i ption ) 

Works of Art: include, but are not limited to, paintings, 
mural decorations, stained glass, statues, bas relief or 
other sculptures; monument, fountains, arches or other 
structures of a permanent or temporary character intended 
for ornament or commemoration. 

Monuments are structures, sculpture or other objects 
such as a stone marker erected to perpetuate the memory of < 
person or of an event. Monuments may include inscriptions 
or plaques. 

Plaques are either simple plates, disks, or slabjor'-'' 
metal or other material affixed to a statue, ground, wall 
stone or other material with an inscription or 
ornamentation. Plaques may be installed as part of a 
larger, more intrusive setting. 



Ill 



PROCEDURES 



^* 



y 



' 



A. Gift Proposals 

A written proposal or letter of intent is to be 
submitted to the Director of Cultural Affairs. The proposal 
is to include information on the artist, specifications on 
the proposed gift (size, color, proposed location, etc.) and 
a donor prof i le . 

B. Consultation with Staff 

Project sponsors will be asked to consult with staff 
prior to preparing a formal proposal to the appropriate 
committee of the Arts Commission. All works of art will be 
referred to the Visual Arts Committee. Plaques will be 
referred to the Civic Design Committee. Text for plaques or 
for bases of monuments will be reviewed by the Literature 
Committee. 

C. Formal Proposals 

Formal proposals will be made to the appropriate 
committee. Proposals should include: 

1. a maquette of the three-dimensional work or a complete 
drawing of the two-dimensional work and photographs that 
demonstrate the relationship of the artwork to the 
architecture and/or site. 



Page 



ARTS COMMISSION GIFT POLICY DRAFT 1 

■ r- 

2. site plan that locates the artwork and a photograph 
board of the site and its surrounding environment. 

3. material samples for the artwork and any relevant 
construction materials. 

4. installation details 

D. Recreation and Park Department 
Conceptional approval for placement of the work on 
Recreation and Park Property must accompany the proposal. 
Gifts approved by the Recreation and Park Department will be 
governed by their Gift Policy. 

E. Committee Review 

The committee will review the formal proposal. Unless more 
information is required or a site visit, the committee will 
discuss the proposal and move to accept or reject the 
proposal. Proposals for public monuments require careful 
consideration and may require several meetings before a 
final decision is made. Gift offers will be judged by the 
criteria listed in this gift policy. Committee 
recommendations for acceptance then go before the full Arts 
Commission . 

F. Review Process 

Works of art which are accepted from maquettes or drawings 
will be subject to a review process during the fabrication 
and installation of the piece. Specific plans for site 
design, installation, maintenance and protection will be 
submitted for approvals. 

G. Arts Commission Acceptance/Accession 

The full commission meeting in which a resolution is passed 
stating final acceptance constitutes the date of accession. 

H. Board of Supervisors 
Approval of acceptance of gifts by the Commission with a 
value of $5,000 or more must be confirmed by the Board of 
Supervisors before construction may begin. 

I. Removal or Relocation 
Working with the appropriate agency i.e. Recreation and Park 
Department or Department of Public Works, works may be 
relocated or removed if a gift becomes a hazard or liability 
or if the approved terms of acceptance are not fulfilled. 

J. De-Accessioning a work of art 
The Arts Commission shall de-accession and dispose of works 
of art in its collection only in the public interest and as 
a means of improving the quality of the collection as 
outlined in Administrative Code, Section 10.117-1. 

IV. CRITERIA FOR ACCEPTANCE 

1. Appropriateness- A determination of appropriateness 
will be based on the following considerations: 

a. Gift acceptance and placement should be in 
accordance with adopted policy and current or historic use 
or master plans and should be in keeping with general Arts 
Commission goals. The location and design of the gift 



Page - 3 



ARTS COMMISSION GIFT POLICY DRAFT 1 









should be consistent with the character and design 
intentions with the proposed site. The quality, scale, and 
character of the gift should be at a level commensurate with 
the particular setting. 

b. Quality The consideration of highest priority is 
the inherent quality of the work itself. 

c. Style & Nature Works of art which are compatible in 
scale, material, form, and content with their surroundings. 
Particular attention shall be given to the social context of 
the work and the manner in which it may interact with 
people . 

d. Media All forms of visual art may be considered. 
Works may be either portable or permanently attached. 

e. Permanence Due consideration shall be given to the 
structural and surface soundness, and to inherent resistance 
to theft, vandalism, weathering, and excessive maintenance 
or repair costs. 

f. Public Liability Each work shall be examined for 
unsafe conditions or factors that may bear upon public 

1 iabi 1 i ty . 

g. Duplication It shall be the policy of this 
Commission only to accept unique, one of a kind works of 
art. Donors/artists will be required to agree to this 
condition of acceptance. 

h. Memorial Gifts will also be judged on the following 
items to determine appropriateness 

i) Significance: If a person or event is being 
memorialized they/it must be deemed significant enough to 
merit such an honor. The person so honored shall have been 
deceased for a minimum of five years. Events shall have 
taken place at least five years prior to consideration of a 
proposed memorial gift. 

ii) The memorial represents broad community values, 
iii) The memorial has timeless qualities and makes a 
statement of significance to future generations. 

iv) The location under consideration is an 
appropriate setting for the memorial; in general, there 
should be some specific geographic justification for the 
memorial being located in a specific site. 









2. Placement/Si te The gift should significantly contribute 
to the setting, from a functional or design standpoint, and 
significantly enhance the chosen location in a way 
meaningful to city visitors, toJu 

a . Vi si bi 1 i ty 

b. Traffic patterns (both interior and exterior) 

c. Publ ic Safety 

d. Relationship to existing planned architectural and 
natural features 

e. Park or area users 

f. Future development plans for the area (if known) 



Page 



L 



ARTS COMMISSION GIFT POLICY DRAFT 1 



Landscape design 

Existing artwork within the proposed site vicinity 

Environmental concerns (impact) 

Public accessibility to the work 

Social Context (intended use of the work if any) 



3. Funding includes costs for fabrication, installation, 
insurance, maintenance. These costs must be underwritten by 
the Project sponsor. 

4. Engineering Requi rements Utility connections, site 
modifications, structural reinforcements or other 
engineering requirements or site modifications should be 
described in the gift proposal and developed in the 
construction plans and specifications. 

5. Maintenance Any display or placement of artwork, 
whether temporary or permanent, must be backed by insurance, 
a bond or endowment fund adequate to ensure its care so that 
the gift will remain in a condition satisfactory to the 
donor and the Commission. The posted insurance or bond must 
also cover costs of installation and/or removal. 
Maintenance includes not only care of the gift itself, but 
of the parkland immediately surrounding the gift if the 
piece is placed in a park. 




Page 



ARTS COMMISSION GIFT POLICY DRAFT 1 

V. GUIDELINES Adopted November 1984 full commission 
meeting . 

Guidelines for Responding to offers of gifts of art work to 
the city: 

1. Gift offers shall be referred to the staff person 
responsible for oversight of the administration of the 
City's collections which is under the jurisdiction of the 
Arts Commission. 

2. He/she shall obtain full information and a photo and/or 
slide of the work. He/she shall also examine the actual 
work of art if necessary 

3. This staff person shall consider the quality of the art 
work and its suitability in the City's collection 
("suitability" will be more fully defined in the Collection 
Management policy when it is adopted). 

4. The staff person shall forward the gift offer to the 
Visual Arts Committee, with a recommendation and the reasons 
for the recommendation. 

5. The Visual Arts committee shall act on the 
recommendati on . 

6. In the event of rejection of the gift, a letter shall be 
sent which expresses appreciation of the offer. 

7. Gifts over $5,000 must go before the Board of 
Supervisors . 



Page 



ART ENRICHMENT PROGRAM FOR MOSCONK EXPANSION 

Program Co nstitue ncy: 

1. Convention visitors, tourists 

2. General Public, neighbors of the center and 

residents of San Francisco 

Program Goals: 

To provide art enhancement to Moscone Expansion that: 

1. Provides a sense of place, a sense of "San 

Francisco" for both convention visitors and city 
residents . 

2. Activates and enlivens an otherwise anonymous, 

highly functional environment. 

3. Is si Led so as to have maximum visual impact for 

both building users and passers-by. 

4. Is conceptually accessible to the general public. 

5. Focuses on California or nationally-known artists, 

with emphasis on local and/or minority artists 
with an established track record. 

Program Objectives: 

Establish program which will address project constituencies 

and program goals. 

1. Site selection, interior and exterior 

2. Art selection (historic and original works). 

Methods of Accomplishment: 

1. Through review of site plans and drawings, select 

sites which have maximum visual impact and the 
potential to activate the visual landscape. 

2. Develop budget, selection process, list of 

potential media and criteria for artwork for each 
site. 

3. Establish a list of potential artists through 

submissions from committee members and Arts 
Commission staff. 

4. Through an open slide review process, develop a 

short list of artists. Direct staff to collect 
information as needed. Select artists and artwork 
according to the program goals and criteria. 

5. Make final selection of artwork through review of 

original artwork, drawings or models. 

Artist Qualifications: 

1. Artistic excellence as evidenced by slide review of 

past work. 

2. Assessed ability to work in the scale and media 

proposed, or ability and willingness to work with 
expert consultants to achieve the artist's vision. 

3. Availability of the artist to accomplish the 

project in a timely fashion. 




45 Hyde Slreel 

Sulle319 

Son Francisco. CA 94102 

415558 3463 



VISUAL ARTS COMMITTEE 

SPECIAL MEETING 
WEDNESDAY, MAY 9, 1990 



MAYOR 
Art Agnos 



COMMISSIONERS 



A special meeting of the Visual Arts Committee will take 
place on Wednesday, May 9, 1990 at the offices of LaRocca 
and Associates, 90 New Montgomery Street, Suite 1010, at 
the corner of New Montgomery and mission Streets. The 
meeting will take place at 1:30 PM . 

AGENDA 



Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Krlken 
Robert F LaRocca 
J ^.' - Me?a-0alns. Ph.D. 
^ vamoto 

OxrCio Rosekrans 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission, 
Recreation and Park 
Commission 



OLD DUS1NESS 

I. ART ENRICHMENT: MOSCONE CENTER EXPANSION 

Review of artists slides for consideration for the 
"Large Wall" in the Esplanade Ballroom. (Germaine 
Wong, CAO's Office, Tonia Macneil) 

II. ART ENRICHMENT: NEW SHERIFF'S FACILITY 
Selection of artists to design artworks for the New 
Sheriff's Facility. (Selection Panel: Members of the 
Visual Arts Committee, Sheriff Hennessey, Lt. Michael 
La Vigne, Ed Tanaka, Jerry Allen) ( Susan Pontious) 

NEW BUSINESS 



DIRECTOR 
Claire N. Isaacs 



ADJOURNMENT 



vacad4 . 9-90 twin 




45 Hyde Street 

Suite 319 

San Francisco. CA 94 1 02 

415558 3463 



VACMIN. 5/9/90 TWM 

VISUAL ARTS COMMITTEE MINUTES 

May 9, 1990 

A special meeting of the Visual Arts Committee was held on 
Wednesday, May 9, 1990 at 3:00 pm at the offices of LaRocca 
And Associates, 90 New Montgomery Street, Suite 1010. 



MAYOR 
ArtAgnos 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Elchelbaum 
KlmFowter 
Daniel Genera 
Ame Heaty 
John Krlken 
Robert F. LaRocca 
S» "i Mesa-Bains. Ph.D. 
^ >kamoto 

..- -ie Rosekrans 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



Commissioner Healy called the meeting to order at 3:20 pm. 

Roll: Commissioners Present Commissioners Absent 

Anne Healy - Chair Amalia Mesa-Bains 

Nancy Boas 

Robert LaRocca 

Dodie Rosecrans (observer) 

Staff Present: Tonia Macneil 
Susan Pontious 



ART ENRICHMENT: Moscone Expansion Art Enrichment. 

The Committee reviewed slides of 35 of the artists 
whose names had been suggested by the previous Moscone 
Joint Committee. Of the 35 artists, 15 received at 
least one vote and will be reviewed in depth in the 
next stage of selection. The Committee agreed to look 
at work by a small number of additional artists as well 
at the next meeting for the Moscone Project, which will 
take place on Thursday, May 24 at 3pm at the offices of 
LaRocca and Associates. 



DIRECTOR 
Claire N. Isaacs 



The artists selected for further review are: 

Philip Taaffe Italo Scanga 

Manuel Neri William Wiley 

David Hockney Deborah Oropallo 

Judy Pfaff Christopher Brown 

John Baldessari Cherie Raciti 

Betty Woodman Al Held 

Oliver Jackson Abraham Elterman 
Roger Brown 



II. ART ENRICHMENT: Selection of Artists for the New 
Sheriff's Facility. 

The Committee heard a presentation of the project from 

the project architect, Ed Tanaka, Lt. Michael LaVigne 



Page - 1 



VACMIN. 5/9/90 TWM 



and Sheriff Hennessy of the Sheriff's Department, and 
Susan Pontious. Jerry Allen of the Yerba Buena 
Cultural Center attended as an outside art consultant 
to the Committee. 20 artists who had been selected by 
the Project Curator were reviewed by the Committee. 
Commissioner Boas moved to approve the selection of 
Vicki Scuri , Buster Simpson, and Carl Cheng, with Doug 
Hoi lis as an alternate and to authorize the Director to 
enter into contract with them to design artworks for 
the New Sheriff's Facility. Commissioner Healy 
seconded. The vote was unanimous. Commissioner Boas 
moved that each artists be paid a design commission of 
$20,000 each, which would include reimbursable costs, 
and which would result in a design plan (drawings 
and/or maquette), to be approved by the Art Commission. 
Commissioner Healy seconded. The ayes were unanimous. 

REPORTS AND ORDERS 

1. Ordered: Motion to approve the selection of Vicki 

Scuri, Buster Simpson and Carl Cheng (with 
Doug Hoi lis as an alternate if Buster Simpson 
declined) and to authorize the Director to 
enter into contract with the artists to 
design artworks for the New Sheriff's 
Faci 1 i ty . 
Moved: Nancy Boas 
Vote: Unanimous 

2. Ordered: Motion to approve the payment of a design 

commisssion of $20,000 each to the selected 
artists, which will include reimbursable 
costs, and which will result in a design plan 
(drawings and/or maquettes) to be approved by 
the Arts Commission. 
Moved: Nancy Boas 
Vote: Unanimous 

There being no further business, the meeting was adjourned 

at 6:00 PM. 



Submitted by, 



Tom 



6WL0LS < McUOU- 




Macnei 1 

Curator, Public Art Program 
5/1 1/90 



Page - 2 



City and County of San Francisco 




Memorandum 



MAY 16, 1990 

HONORABLE COMMISSIONERS, MEMBERS OF THE PUBLIC 
TONIA MACNEIL, SECRETARY, VISUAL ARTS COMMITTEE 

MEETING CANCELLATION 



Art Commission 

Claim N. lonncs 
DIRECTOR 



DUE TO THE LACK OF A QUORUM, THE REGULAR MEETING OF THE VISUAL ARTS COMMITTEE 
WHICH WAS SCHEDULED FOR 3:00 PM in ROOM 302 OF THE PUBLIC HEALTH BUILDING 
HAS BEEN CANCELLED. 

THE MEETING IS RESCHEDULED FOR THURSDAY, MAY 24, 1990 AT 2:00 PM IN ROOM 

302 OF THE SAN FRANCISCO DEPARTMENT OF PUBLIC HEALTH AT 101 GROVE STREET ON THE 

CORNER OF GROVE AND POLK STREETS. 

FOR FURTHER INFORMATION PLEASE CONTACT TONIA MACNEIL AT 558-3463 



(415) 558-3463 



•45 HYDE STREET - ROOM 319 



SAN FRANCISCO, 94102 




VACAGN . 5/1(5/901 win 



<15HydnSlroet 
5Ulle319 

Son ri.Hirlsco.CA 9<1 102 
<t 1 5 SM MM 



MAYOR 
Ait Agnos 



i.;oMMiworj[i« 



Vernon Alley 

Slnnloy Clcholbaum 

Kim Potior 

Oanlol Gonoia 

Aimn I Inary 

John Krlken 

Robort F. LaRocca 

Amalla Mesa Bains. Ph.D. 

Bfll Y. Okamoto 

^^ * Rosekrans 



EX Or FICIO MEMBERS 

Pinsldonls ol Iho 
Fine Arts Mkjsoum 
library Commission. 
Planning Commission, 
Recreation and Park 
Commission 



VISUAL ARTS COMMITTEE MEETING 

WEDNESDAY, MAY I (> , 1990 

'ho regular monthkv meeting of Lhe Visual Arts Committee 
will be held on Wednesday, May 16, 1990 in Hoom 302 I 3rd 
Floor) of I. lie San FYancisco Department oT Public Health at 
10 1 Grove Street on Vhe corner of Grove and Folic Streets. 
The meeting will take\ place at 3:00 PM . 



AGENDA 
April 1H arid 20 and May 9, 1990 



I . APPROVAL OP M I NUT! 
OLD HU S1NESS 

II. Alii' ENUICHMENT: Selection oP-Vik^j^il^sjTNf or design 
and fabrication of grillwork for the *-r5usjli/Pol k Parking 
Garage. (Kevin HagertyX San Francisco Ptfrking 

Au I hority, Sam Nuries an\l Pauline Souza, Gordon Chong 
and Associates, Tonia MaVmeil) 

III. MURAL RESOURCE CENTER: Design Approval of mural 
created by Horace Washington for installation at 
Creativity Explored. (Horace Washington) 

IV. MURAL RESOURCE CENTER: DesiW Approval of mural 
created by .Johanna Poethig foV installation at William 
De Avila School on llaight Street. (Johanna Poethig) 

V. SAN FRANCISCO ARTS COMMISSION GALLERY: Report on 
status of Festival 2000 Exhibitions. Change from 
Invitational to "Cal 1 Tor Enl.rieV" for outdoor 
exhibition. (Anne Meissner) 

VI. COLLECTIONS: Request to place twA murals by Peter 
llyin commissioned in 1939 by the /Arts Commission for 
the Golden Gate International Exposition in the lobby 
of a new building at G000 California/Kearney (Linda 
Evans, Art Consultant, Debra I,ehane)\ 

VII. COLLECTIONS: Contract Auth< 
Maintenance. (Debra Lehane 

VIII. COLLECTIONS: Loan Request by the San \Francisco 
Museum of Modern Art for two archi tec tuVal models by 
Don Potts. (Debra Lehane) 

IX. ART ENRICHMENT: Report on Main Library (Vjill Manton) 

X. ART ENRICHMENT: Report on Embarcadero ( J i\l 1 Manton) 



VACAGN. 5/16/90Lwr 



XI. COIiIjUCT LONS : Discussion and comments on draft of 
gift policy. I Debra Leliane ) 

XII. ART ENRICHMENT: Request for Approval to enter into 
contract with artists Tim Collins and Reiko Goto for 
the design phase of San Andreas Water Treatment 
Expansion #2 (Tonia Macneil) 

NEW BUSINESS 

XIII. VAC: Discussion of Visual Arts Committee meeting 
schedule and structure. 



ADJOURNMENT 



City and County of San Francisco 




Memorandum 



MAY 16, 1990 

HONORABLE COMMISSIONERS, MEMBERS OF THE PUBLIC 
TONIA MACNEIL, SECRETARY, VISUAL ARTS COMMITTEE 

MEETING CANCELLATION 



Art Commission 

Claire N. lnnncs 
DIRECTOR 



DUE TO THE LACK OF A QUORUM, THE REGULAR MEETING OF THE VISUAL ARTS COMMITTEE 
WHICH WAS SCHEDULED FOR 3:00 PM in ROOM 302 OF THE PUBLIC HEALTH BUILDING 
HAS BEEN CANCELLED. 

THE MEETING IS RESCHEDULED FOR THURSDAY, MAY 24, 1990 AT 2:00 PM IN ROOM 

302 OF THE SAN FRANCISCO DEPARTMENT OF PUBLIC HEALTH AT 101 GROVE STREET ON THE 

CORNER OF GROVE AND POLK STREETS. 

FOR FURTHER INFORMATION PLEASE CONTACT TONIA MACNEIL AT 558-3463 



415) 558-3463 



•45 HYDE STREET - ROOM 319 



SAN FRANCISCO, 94102 




VACAGN. 5/ J 0/901 win 



45 Hyde Street 

Suite 319 

Son Francisco. C A 94 1 02 

415 558 3463 



MAYOR 
Art Aqdos 



COMMISSIONERS 

Barbara Sklar 
President 



Vemon Alley 

Stanley Elchelbaum 

Kim Fowler 

Daniel Genera 

Anne Mealy 

John Krlken 

Robert F. LaRocca 
Jeralla Mesa-Bains. Ph.D. 
^ ', 'Okamoto 
— . . ..<* Rosekranj 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



VISUAL ARTS COMMITTEE MEETING 

THURSDAY, MAY ','1 , I 990 

The rcfiu l.*\r won th I y meo t j nr* of t he V i sua I \rls Co in mi t t.Pf 
wilj lip tio I . I en '! 1 1 > 1 1 sda\ , May 2\ , I 9 i) (J in Room 'M)2 Cirri 
[■' I oor I of I. ho Snii Francisco Department o T Public Ileal l.h at 
I (i I Grove Street on I he cnnier o l' Rrovr -i ikI Poll; Streets. 
The meeting will take p !••'"■ e H t 2:00 I'M. 

AGENDA 

I. APPROVAL OF MINUTES: April IH -\ 1 1 r I :'M nurl Mny 9. l!)!l() 
OLD IHJSI.NES.S 

II. ART ENR I CHMENT: Review of slides of artists to create 
uoi I; lor I ho "Larce Wall." nl' the Esplanade Da 1 1 loom oJ' 
Mosr.-.ono Center. lOnnninf Wong, Tonin Macneil ) 

III. ART ENRICHMENT: Sclc'lioii of I' i na I i ■-- i ( s ) lor ddsitin 
and fabrication uf tfrill.work Tor the FJush-Polk Parkin? 
Garage. (Kevin llauerly, San Francisco Parkine 
Authority! Sam Nunes and Pauline Souza, Gordon Chorus 
and Associates, Tonin MacneiJ ) 

IV. MURAL RESOURCE CENTER: Design ApprovaJ of mural 
created liy Horace Washington for installation at 
Great ivify Explored. (Horace Washington) 

V. MURAL RESOURCE CENTER: lJesi.an AjijjrovaJ of mural 

created Liy .Johanna I'^mt hi 2 for inslallal ion at Will Lam 
l)e Avila School on llaiuht Street. (Johanna I'nrlhitil 

VI. SAN FRANCISCO ARTS COMMISSION GALLERY: Report on 
status of Festival 2000 Exhibit ions. Change from 
Invjtal i 'Mia 1 to "Call Cor Entries" for outdoor 
exhibit ion. ( Nunc Meissner) 

VII. COLLECTIONS: Request to place two murals by Peter 

I l.yin romini ssioned in 1939 by the Arts Commission For 
tlio (in 1 den Gate International Exposition in the lobby 
of a new building al G000 California/Kearney I Linda 
Evans, Ail Consultant ■ Debra Lehane ) 



e- 



VIII .COLLECTIONS: Contract Authorization for Market Street 

Maintenance. ( Debra Lehane) 

TX. COLLECTIONS: Loan Request by the San Francisco 

Museum of Modern Art for two archi tec turaJ models L\ 

Don Pot Is. ( Dcl.ra Lehane ) 



VACAGN. 5/1 6/90 (.win 

\. ART ENULC1IMENT: Report on Main I. i hrnry (Jill Mnnton ) 
XJ . AIM ENRICHMENT: Report on Embarcadero (Jill HanLonl 

XII. COLLECTIONS: Discussion and comments on draft of 
e, i f l. policy. (Debra Lehane ) 

XIII. All'l' ENRICHMENT: Requesl I'or Approval lo enter into 
contract with nrl.iKls Tim Collins :u\<\ Re i ku Goto I'or 
the design phase of San Andreas Water Treatment 
Expansion #2 (Ton in Macnei I ) 

NEW BUSINES S 

X I V . VAC : Discussion of Visual Arts Committee meeting 

• : c ■ 1 1 ■ • 1 1 1 1 I ( • a n 1 1 s I i 1 1< ■ I 1 1 I ■ i • . 



XV. 



ADJOURNMENT 




VISUAL ARTS COMMITTEE MINUTES 
MAY 24, 1990 

45 Hyde Street 

San^iancisco. ca 94102 The regular monthly meeting of the Visual Arts Committee 

4155583463 was held on Thursday, May 24, 1990 at 3:00 pm in Room 302 

of the San Francisco Department of Public Health at 101 

Grove Street. 



MAYOR 
Art Agnos 



Commissioner Healy called the meeting to order at 2:22 pm. 
Roll: Commissioners Present Commissioners Absent 



Anne Healy - Chair 
Robert LaRocca 



Amalia Mesa-Bains 
Nancy Boas 



Staff Present: 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vemon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Krlken 
Robert F. LaRocca 

^' ta ^ < ^? ns ' PhDTne minutes of the April 18 and May 9 meetings were 
^ .osekrons approved on a motion by Commissioner LaRocca. The vote was 
cJ unanimous. 



Jill Manton 
Tonia Macneil 
Susan Pontious 
Pebrn Lehane 

APPROVAL OF MINUTES for April 18 and May 9, 1990 



ex officio members II§ ADDITION TO THE AGENDA 

Presidents ot the 

Fine Arts Museum n i. • tj _ j j • 4- • i-ti 

Library Commission. Susan Pontious requested an emergency addition to the 

Planning Commission, agenda of an Art Enrichment item relating to Kezar Stadium. 

Recreation and Park _,.. rr-i j ^ jj_i — _i 

Commrssion Commissioner LaRocca moved to amend the agenda. 

Commissioner Healy seconded. The vote was unanimous. 



DIRECTOR 
Claire N. Isaacs 



III. MURAL DESIGN APPROVAL 



Artist Horace Washington and Ray Patlan, director of 
Creativity Explored presented Mr. Washington's concept for 
a mural to be installed on the facade of Creativity 
Explored, an art center which is located in Mission Heights 
and serves disabled adults. The 2'x 50' ceramic tile frieze 
is being created by seven students at the center working 
with the artist to make drawings and paint tiles. The 
tiles will be fired at the center and mounted on a wood 
backing before installation. Commissioner LaRocca moved to 
approve the mural design by Horace Washington. 
Commissioner Healy seconded. The vote was unanimous. 



VAC5. 24-25.901 wm 



Page - 1 



IV. MURAL DESIGN APPROVAL 

Artist Johanna Poethig presented a mural design titled 
"Pearl's of Wisdom" for installation at William De Avila 
School on Haight Street. Following discussions with 
students about environmental issues, students will create 
individual tiles to incorporate into an overall design 
produced by Ms. Poethig. The mural will be composed of 
recycled materials as well as ceramic tile and paint and 
will deal with the themes of earth, air and water. 
Commissioner LaRocca moved and Commissioner Healy seconded 
to approve the mural concept and design by Johanna Poethig. 
The vote was unanimous. 

V. ART ENRICFIMENT: SAN ANDREAS WATER TREATMENT PLANT 

Tonia Macneil asked the Committee for approval to enter 
into contract with the artists Tim Collins and Reiko Goto 
for the design phase of San Andreas Water Treatment Plant 
for an amount not to exceed $12,000. Commissioner Healy 
moved for approval and Commissioner' LaRocca seconded. The 
motion passed. 

VI. ART ENRICHMENT: KEZAR STADIUM 

Susan Pontious asked the Committee to approve the final 
payment in the amount of $15,000 on Alan Fleming's design 
contract for the gates of Kezar Stadium. Commissioner Ileal y 
moved to approve the payment, Commissioner LaRocca 
seconded. The vote was unanimous. 

VIII. ART ENRICHMENT: MAIN LIBRARY 

Susan Pontious and Jill Manton reported on the progress of 
selection of artists for the new Main Library. Pontious 
said that the minimum budget for art enrichment would be 
$900,000 and requested that the Committee approve design 
fees for the artists. Commissioner LaRocca moved and 
Commissioner Healy seconded that the range of fees for the 
schematic phase be between $20,000 and $30,000. Jill 
Manton pointed out that the fee is for 4 to 8 weeks of 
conceptual work and does not include working drawings. 
Commissioner LaRocca moved and Commissioner Healy seconded 
to amend the fees to between $15,000 to $30,000. The 
motion passed. 



VAC5. 24-25. 90twm Page 



IX. ART ENRICHMENT: BUSH-POLK PARKING GARAGE 

Tonia Macneil presented slides of 15 entrants to the 
competition for Bush-Polk Parking Garage to the selection 
panel made up of the members of the Committee, a 
representative of the consulting architects: Gordon Chong 
and Associates, and Kevin Hagerty of the Parking Authority. 
Ms. Macneil explained that the scope of work had been 
amended to make the installation of the artwork the 
responsibility of the general contractor, and that 
consequently the budget for fabrication and transportation 
of 40 grillwork panels would be $60,500. In response to a 
question regarding the small size of the budget, she 
explained that artist-fabricators and commercial 
fabricators whom she had contacted said the budget was 
"tight but do-able". The panel was encouraged to ask up to 
3 artists to produce maquettes and detailed proposals for 
further review. Following the review of slides, the panel 
selected four artists: Bruce Hasson, Noel Neri, Jean-Louis 
Pierson and Susanne Wibroe. Commissioner LaRocca moved to 
approve the selection of the 4 finalists to produce 
maquettes for design of grillwork for Bush-Polk Garage for 
a fee not to exceed $500.00 per artist. In addition he 
asked that in the meantime the artists be in communication 
with the architects to understand the particulars of the 
project. Commissioner Healy seconded the motion. The 
motion passed. 

X. COLLECTIONS MANAGEMENT: LOAN OF ARTWORK 

Collections Manager Debra Lehane introduced Linda Evans, 
Art Consultant, and Bob Terwilliger of the Federal Home 
Loan Bank. The bank is requesting the long term loan of 
two murals designed by Peter Ilyin in the lobby of their 
new building at 600 California Street. The murals had been 
commissioned in 1939 by the Arts Commission for the Golden 
Gate International Exposition and are currently in storage. 
Linda Evans showed a model of the building and described 
the planned location of the works. Commissioner LaRocca 
noted that there should be something in the contract to 
protect the pieces if the building changes hands. Ms. 
Lehane said that the loan agreement would be handled by the 
City Attorney. Commissioner LaRocca asked that a plaque be 
mounted in conjunction with the pieces to show the 
relationship of the Arts Commission to them. He moved to 
approve the placement of the murals. Commissioner Healy 
seconded. The motion passed. 



VAC5. 24-25. 90twm Page - 3 



XI. ARTS COMMISSION GALLERY: PROGRAM UPDATE 

Gallery Director Anne Meissner explained the change in the 
curatorial procedure from Invitational to "Call For 
Entires" for the indoor exhibition at the gallery in 
relation to Festival 2000. Commissioner Healy moved to 
approve the change. Commissioner LaRocca seconded. The 
motion passed. 

Ms. Meissner reported on plans for the outdoor lot this 
summer. Three residencies are scheduled during which the 
artists will produce process works: July 9-22: Seyed 
Alavi , tulip planting; July 23-Aug 5: June Jalbuena, sound 
piece; August 5-19: J. W. Mead: giant redwood stump. 

Ms. Meissner presented the press release for LIQUID 
EYELINER, which opens Thursday, June 21, 1990. 

XII. COLLECTIONS MANAGEMENT: MARKET STREET MAINTENANCE 

Collections manager Debra Lehane asked the committee to 
authorize the Director to enter into contract with Piero 
Mussi of Artworks Foundry for the maintenance of the Market 
Street Monuments for an amount not to exceed $12,000.00. 
Commissioner Healy moved to make the authorization, 
commissioner LaRocca seconded. The motion passed. 

XIII. COLLECTIONS MANAGEMENT: LOAN REQUEST. 

Collections Manager Debra Lehane explained that the San 
Francisco Museum of Modern Art was requesting the loan of 
two architectural models by Don Potts : the "Golden Gate 
Bridge Pylon" and the "Dome of City Hall" for use in the 
exhibition VISIONARY SAN FRANCISCO , from June 14 to August 
6, 1990. Commissioner Healy moved to approve the loan, 
Commissioner LaRocca Seconded. The motion passed. 

XIV. ART ENRICHMENT: EMBARKADERO ART IN TRANSIT PROJECT 

Jill Manton reported that Roger Barry has been hired by 
Bechtle Corporation as an equal member of the Design Team. 
He will be recommending areas for artist involvement. What 
remains to be resolved is the amount of money available for 
art enrichment. The transportation project budget is $350 
million. Rudy Nothenberg is currently offering $200,000 
for artwork. He refers to the fact that the ordinance 
refers only to art in "buildings". Ms. Manton stated that 



VAC5. 24-25. 90twm Page 



she is hoping the CAO will put off the decision until she 
and members of the Arts Commission have an opportunity to 
meet with him. 

ANNOUNCEMENT: GODDESS OF DEMOCRACY PROGRESS REPORT 

Collections manager Debra Lehane announced that she and 
Commissioner LaRocca had visited the David Coleman Foundry 
on May 23 to approve the wax molds for the statue. They 
are satisfied that the fabricators are proceeding in an 
acceptable manner with a high quality of craftsmanship. 
The next review will take place in 6 weeks. 

XV. COLLECTIONS MANAGEMENT: GIFT POLICY (Tabled) 

XVI. VAC: Discussion of Visual Arts Committee meeting 

schedule and structure. (Tabled) 

The meeting was continued until Friday, May 25 at 5:00 PM 
at the Dollar Board Room of the San Francisco Ballet 
Building, at 445 Franklin Street, San Francisco. 

The meeting was recessed at 6:15 PM . 



VISUAL ARTS COMMITTEE MEETING CONTINUED 

The Visual Arts Committee was reconvened Friday, May 25, 
1990 at 5PM at 5:00 PM at the Dollar Board Room of the San 
Francisco Ballet Building. Roll Call: Anne Healy - Chair, 
Robert LaRocca. 

The meeting was called to order at 5:15 PM . 

XVII. ART ENRICHMENT: MOSCONE EXPANSION ART ENRICHMENT 

Having narrowed down the number of artists under 
consideration for the "Large Wall" from over 30 to 16, the 
Committee planned to continue the selection process. 
Germaine Wong of the CAO's office expressed her concern 
that there were only two members of the Visual Arts 
Committee on the selection panel and that there was a lack 
of ethnic diversity in the artists who had been reviewed so 
far. The Committee felt that time was of the essence and 
that the review should continue as planned. Tonia Macneil 



VAC5. 24-25. 90twm Page 



showed slides of the 16 artists under consideration. The 
Committee identified four artists whom they thought should 
be asked to produce maquettes: Betty Woodman, Judy Pfaff, 
Cheri Raciti, Debra Oropallo. They agreed to postpone the 
final selection of artists until materials of an ethnically 
diverse group of artists can be gathered and reviewed. 



REPORTS AND ORDERS 

1. Ordered: Motion to approve mural design by Horace 
Washington for installation at Creativity Explored. 
Motion: Robert LaRocca 

Vote: Unanimous 

2. Ordered: Motion to approve mural design by Johanna 
Poethig for installation at William De Avila School on 
Haight Street. 

Motion: Robert LaRocca 
Vote: Unanimous 

3. Ordered: Motion to authorize the Director to enter 
into contract with the artists Tim Collins and Re i ko 
Goto for the design phase of San Andreas Water 
Treatment Plant for an amount not to exceed $12,000. 
Motion: Anne Healy 

Vote: Unanimous 

4. Ordered: Motion to approve final payment of 
$15,000.00 on Alan Fleming's design contract for the 
gates of Kezar Stadium. 

Motion: Anne Healy 
Vote: Unanimous 

5. Ordered: Motion to approve a range of fees of 
$15,000.00 to $30,000.00 for the Schematic design 
phase of the new Main Library. 

Motion: Robert LaRocca 
Vote: Unanimous 

6. Ordered: Motion to approve selection of artists Bruce 
Hasson, Noel Neri , Jean Louis Pierson, and Susanne 
Wibroe to create maquettes for design of grillwork for 
Bush-Polk Garage for a fee not to exceed $500.00 per 
artist . 

Motion: Robert LaRocca 



VAC5. 24-25. 90twm Page 



Vote : 



Unan imous 



7. Ordered: Motion to approve the long term loan of two 
Peter Ilyin murals for the lobby of the Federal Home 
Loan Bank at 600 California Street conditional upon 
the acceptance of a signed loan agreement. 

Motion: Robert LaRocca 
Vote: Unanimous 

8. Ordered: Motion to approve a change of curatorial 
procedure for Festival 2000 indoor exhibition from 
Invitational to Call for Entries. 

Motion: Anne Healy 
Vote: Unanimous 

9. Ordered: Motion to authorize the Director to enter 
into contract with Piero Mussi of Artwork Foundry for 
the maintenance of the Market Street Monuments for an 
amount not to exceed $12,000.00 

Motion: Anne Healy 
Vote: Unanimous 

10. Ordered: Motion to approve the loan of the models by 
Don Potts titled "Golden Gate Bridge Pylon" and "City 
Hall Dome" to the San Francisco Museum of Art 
exhibition VISIONARY SAN FRANCISCO from June 14 to 
August 26, 1990. 

Motion: Anne Healy 
Vote: Unanimous 

There being no further business, the meeting was adjourned 
at 6:15 PM. 



SulSynitted , ^~ 

Tonia Macneil 

Curator, Public Art Program 



6/4/90 



VAC5. 24-25. 90twm 



Page 




45 Hyde Street 

Suite 319 

San Francisco. C A 94102 

415 558 3463 



MAYOR 
Art Agnos 



COMMISSIONERS 



Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Heary 
John Kriken 

Amalla Mesa-Bains. Ph.D. 
Rai Y. Okamoto 
Dodle Rosekrans 
"■ V -ira Sklar 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



DATE: May 24, 1990 

TO: The Honorable Members of the Visual Arts Committee 

FROM: Jill Manton, Director, Public Art Program 

RE: Progress Report on Library Art Enrichment 



On May 16th, The Library Selection Panel decided upon 7 artist 
finalists to be interviewed by the Selection Panel and the 
Project Architects. Out of these 7 candidates, approximately 
3 artists will be selected to work with the architects on the 
design of the new library. The artists selected will be paid a 
fee ranging from $12,000 to $15,000 for their development of 
a specific design concept and the production of the accompanying 
drawings. 

The 7 artists selected to be interviewed are: 

Lothar Baumgarten 
Alice Aycock 
Ann Hamilton 
Nayland Blake 
John Woodall 
Bruce Nauman 
John Baldessari 

Out of town artists will be reimbursed for their travel expenses to 
San Francisco. A resolution from the Visual Arts Committee is needed 
in order to obtain authorization to reimburse these artists for the 
expenses incurred. 

A total of 86 artists had been nominated as candidates for this project. 
On the basis of a slide review, the panel initially identified 16 
artists in whose work and talents they were most seriously interested. 
At the final screening on May 16th, the work of these 16 artists was 
again reviewed and the 7 artists named above represent those 
candidates who the panel believes will have the greatest potential 
to fulfill the objective to achieve a successful collaboration. 




45 Hyde Street 

Suite 319 

San Francisco. CA 94102 

415 558 3463 



MAYOR 
Art Agnos 



COMMISSIONERS 

Robert F. LaRocca 
President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Eichelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Kriken 

Amalia Mesa-Bains. Ph.D. 
Rai Y. Okamoto 
J^pd ie Rosekrans 
'a Sklar 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission, 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



DATE: May 24, 1990 

TO: The Honorable Members of the Visual Arts Committee 

FROM: Jill Manton, Director, Public Art Program 

RE: Progress Report on Library Art Enrichment 



On May 16th, The Library Selection Panel decided upon 7 artist 
finalists to be interviewed by the Selection Panel and the 
Project Architects. Out of these 7 candidates, approximately 
3 artists will be selected to work with the architects on the 
design of the new library. The artists selected will be paid a 
fee ranging from $12,000 to $15,000 for their development of 
a specific design concept and the production of the accompanying 
drawings. 

The 7 artists selected to be interviewed are: 

Lothar Baumgarten 
Alice Aycock 
Ann Hamilton 
Nayland Blake 
John Woodall 
Bruce Nauman 
John Baldessari 

Out of town artists will be reimbursed for their travel expenses to 
San Francisco. A resolution from the Visual Arts Committee is needed 
in order to obtain authorization to reimburse these artists for the 
expenses incurred. 

A total of 86 artists had been nominated as candidates for this project. 
On the basis of a slide review, the panel initially identified 16 
artists in whose work and talents they were most seriously interested. 
At the final screening on May 16th, the work of these 16 artists was 
again reviewed and the 7 artists named above represent those 
candidates who the panel believes will have the greatest potential 
to fulfill the objective to achieve a successful collaboration. 





SAN FRANCISCO ARTS COMMISSION GALLERY 

1 55 Grove Street, San Francisco, California 94102 (415) 558-4445 



For Immediate Release: May 14, 1990 

For information contact: Anne Meissner 

Kathleen Kolba 

(415) -558-4445 

D-L Alvarez 

(415)641-1521 

LIQUID EYELINER: AN EXPOSITION OF BEAUTY MAINLINED 

Curated by D-L Alvarez 

June 22 - July 28, 1990 

Reception: Thursday, June 21, 1990, 7-9:00PM 

An Evening of Performances: Saturday, July 21, 7:00PM 

In an explosion of pink and velvet, 1 8 plus gender-confusing artists will scream their 
(non) sensibilities into the gallery-cased world of "fine art" at the San Francisco Arts 
Commission Gallery this June. Liquid Eyeliner: An Exposition of Beauty 
Mainlined will explore the use, abuse and influence of camp (parodying of the straight 
arrangement) upon pop-culture via the lesbian and gay community. 

"Give us five minutes in our Woolworth's Gothic environment," says curator D-L 
Alvarez (a.k.a. "Didi"), "And we will have you convinced that the whole of contemporary 
tastes and fashion have been predetermined by a small band of enterprising drag queens 
and kings." Maybe not. But at least, you will discover how camp was the predecessor to, 
and is indicative of, the post-modern condition. Mediums of expression include: a banana 
split, glass slippers, Bugs Bunny film stills, rouge, sulfur and sugar-coated breakfast 
cereals. 

This display of deconstructed/redecorated sex roles takes the pretentiously subtle wink- 
nudge of current art production trends, and cranks it full tilt to a loud'n'proud 
"Meow,SNAP!" The opening reception Thursday June 21st (7-9:00PM) promises to be 
one of the most splendorous spectacles of the summer. Liquid Eyeliner will be on view 
during the Sixtth International AIDS Conference. The exhibit runs through July 28th, and 
includes an evening of performances on Saturday, July 21st at 7:00PM. Other extended 
hours in support of Lesbian/Gay Freedom Day Parade and the Arts 
Commission/Symphony POPS concerts are noted below. 

A project of the S.F. Arts Commission and Friends of the Arts. 

GALLERY HOURS: Tuesday through Saturday: 1 I - 5 PM Thursday: 11-8 PM 



II li II II II II II 

Photographic materials available on request. 



Gallery Hours: 

Tuesday-Friday llam-5pm, 
Thursday, 11 am- 8pm, 
Saturday 12-5pm, 
Gallery closed July 4 

Extended Hours 

San Francisco Lesbian/Gay Freedom Day Parade and Celebration 
Sunday, June 24, 1:00 - 5:00. 

San Francisco Arts Commission/Symphony POPS Concerts 
July 19, 20, 21,26, 27, and 28 
6:00pm til showtime 

Free admission. Handicap accessible. 



The San Francisco Arts Commission Gallery is a not-for-profit exhibition space under the auspices of the 
San Francisco Arts Commission and the Friends of the San Francisco Arts Commission. The Gallery is 
funded in part by the City and County of San Francisco and the California Arts Council, a state agency and 
from business and private contributions. The Gallery is a member of the National Association of Artists' 
Organizations (NAAO), the Bay Area Consortium of Visual Arts 03ACVA), and the Non-Profit Gallery 
Association (NPGA). 

itttltlt it ft fl 



Csty and County of San Francisco Art Commission 




MEMORANDUM 



Claire N. Isaacs 
DIRECTOR 



DATE: June 13, 1990 

TO: Honorable Commission Members, Members of Public 

FROM: Tonia Macneil, Curator, Public Art Program 

RE: Room Change for June 20 VAC Meeting 



PLEASE NOTE: 



THE JUNE 20 MEETING OF THE VISUAL ARTS COMMITTEE 
WILL BE IN ROOM 300 RATHER THAN ROOM 302 OF THE 
PUBLIC HEALTH BUILDING 



[415) 568-3463 45 HYDE STREET - ROOM 319 SAN FRANCISCO. 94102 




VISUAL ARTS COMMITTEE MEETING 
WEDNESDAY, JUNE 20, 1990 



The regular monthly meeting of the Visual Arts Committee 
will be held on Wednesday, June 20, 1990 in Room 300 (3rd 
s5te3i 9 9 Slle0 ' Floor) of the San Francisco Department of Public Health at 
San Francisco. CA 94102 101 Grove Street on the corner of Grove and Polk Streets. 
4155583463 The meeting will take place at 3:00 PM . 

AGENDA 



MAYOR 
Art Agnos 



COMMISSIONERS 

Barbara SkJor 
President 

Nancy Boas 
Vice President 

Vernon Aley 
Stanley Elchelbaum 
KlmFowtef 
Daniel Genera 
ArmeHealy 
John Krlken 
Robert F. LaRocca 
*- " Mesa-Bairn. Ph.D. 
• :amoto 

jie Rosekrans 



I. 

II . 



Ill 



IV. 



APPROVAL OF MINUTES: May 24 and 25, 1990 

ART ENRICHMENT: Bush-Polk Parking Garage. Review of 
slides of applicants for the Bush-Polk Parking 
Garage. (Tonia Macneil) 

ARTS COMMISSION GALLERY: Request for approval of 
Exhibition Concept for Exhibit dated August 9 through 
September 15, 1990 (Anne Meissner) 

ARTS COMMISSION GALLERY: Review of artists selected 
for Festival 2000 for the Indoor Exhibit. (Anne 
Meissner ) 



V. 



ARTS ENRICHMENT: 
Manton ) 



Review of Library finalists (Jill 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission, 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



VI. 



VAC: Discussion of Visual Arts Committee meeting 
schedule and structure. Upcoming projects include: 

1. Mental Health Facility screening 

2. Moscone Expansion screening 

3. San Andreas Water Treatment Plant concept 
approval 

4. Bush-Polk Parking Garage selection of finalist 

5. Market Street Design Team discussion of 
parameters 



VII. COLLECTIONS: Pioneer Monument. Presentation by 
Library concerning the location of the Pioneer 
Monument. (Steven Coulter, President, Library 
Commission, Cathy Simon, Project Architect, Russ 
Abel, Bureau of Architecture, Debra Lehane ) . 

OLD BUSINESS 
NEW BUSINESS 
VIII .ADJOURNMENT 



VACAGN.6/20/90twm 



Page - 1 



City and County 
ot San Francisco 




VISUAL AIMS COMMITTEE MINUTES 



■KM M- A JUNK 20 ' 1990 

25 Van Ness Avenue 
Suite 240 

^ F TcT^°' CA 94102 Tne regular monthly meeting of the Visual Arts Committee 
was held on Wednesday, June 20, 1990 at 3:00 pm in Room 
300 of the San Francisco Department of Public Health 
Building at 10 1 Grove St reet . 



(415)554-9671 



MAYOR 
Art Agnos 



Commissioner Healy called the meeting to order at 3: 10 pm, 
Roll: Commissioners Present Commissioners \bsen1 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vemon Alley 

Stanley Elchelbaum 

Kim Fowler 

Daniel Genera 

Anne Healy 

John Kriken 

Robert F. LaRocca 
y^nalla Mesa-Bains. Ph.D. 

VlY. Okamoto 
• *",- Rosekrans 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Collection 
CMC Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sale-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Anne Healy - Chair 
Amal ia Mesa-Bains 
Robert LaRocca 
Nancy Boas 



Staff Present. 



Jill Manton 
Tonia Macneil 
Debra Lehane 



I. APPROVAL OF MINUTES for May 2 4 and 25, 1990 regular 
meeting . 

The minutes of the May 24 and 25 meeting were approved on 
a motion by Commissioner Mesa-Bains. Commissioner Boas 
seconded. The vote was unanimous. 



I I 



ART ENRICHMENT: 



BUSH-POLK PARKING GARAGE, 



The Selection Panel (Members of the Vis 
Kevin Hagerty of the Parking Authority 
Gordon Chong Associates) for Bush-Polk 
Enrichment was re-convened to review wo 
previously eliminated on the staff 1 eve 
explained the background and current st 
and showed the materials of three artis 
Bulwinkle and Tomas Nakada. Artist Sha 
presented her own materials. The panel 
determine if there was interest in invi 
artists presented to produce a maquette 
majority of the Panel, Commissioners La 
Hagerty and Mr. Chong, voted to approve 
Shannon Shanahan as a finalist for the 
Garage . 



ual Arts Committee, 
and Gordon Chong of 
Parking Garage Art 
rk by artists 
1 . Tonia Macne i 1 
atus of the project 
ts, Matt Gil, Mark 
nnon Shanahan 

was polled to 
ting any of the 

for the pro. jet t . \ 
Rocca and Boas, Mr. 

the selection of 
Bush-Polk Parking 



Arts Commission Gollery 
155 Grove Street 
415-554-9682 




VAOMIN(i.20-twm 



Page 



I ! I 



\n is comm i.ssi( in OAi i i- in 



I Ml MM riO! \ITR')\ \l 



Direct or \nne Heissner and \drienne Fnzee, Cliai rpRrsnn "I 
the 'in I I cm y Advi sory Committee, explained that three 
art ists would lio inv i ted to mount r on seen I i ve s^ln 
exhib.i1 ions at the gal ler> between August 9 and Septembei 
15, 1990. The artists are Andrea Brady, Kerry Vander Mee 
and Amie Laird McNeel. Commissioner Rons moved to appro' 
the exhibit ion concept . Commissioner La Rocca seconded. 
The vote was three ayes with one abstention by 
Commissioner Ilea I y. 



IV. ARTS COMMISSION GAL1 


FRY : FES J MAI, 2000 UPD 


VI E 




Because of the unavailabi 


1 i t y o f critics f" r t he 


Crit i ■ 


• ' 


Choice exhibition planned 


l n t he gaJ 1 ery , 1 he D i 


rec t or 




Anne Meissner present. ed a 


new proposal conceived 


by .-,,1 


i si 


Tony Labatand approved b\ 


t he \d \ i so ry ' '< >mm i ttee 


: tl- -"I 


>i r 


of the Curatorial Commit t 


ee would select 1 art is 


t s had 


not 


received sufficient at ten 


t ion and whose work won 


Id be 




prophetic of what might b 


e happening in the year 


ZOOM . 




The Committee will ask ar 


1 ists to respond to I he 


quesl 


Lon 


of what life would be lik 


e and how t hey m i £h t be 


work i > 


ig 


i n the year 2000 . At 1 he 


request of Coinmissione 


rs, II i ' 




Director will show slides 


of the selected art is 1 


s a I a 




future Visual Arts Commit 


t op meet i ng . 







Ms. Meissner reported that the calJ for entries For the 
Outdoor Space for Fest ival 2000 was at that time in ' 
generating a large response. 

Ms. Meissner reported thai the gallery had submitted an 

application on June 15 for- an NEA grant in the amount o 

$15,000. The purpose of t lie grant will be to expand th 
City/Site Program. 



V. 



COLLECTIONS 



PIONEKR MONUMENT 



Dale Carl son , Member of the San Francisco Library 
Commission, spoke on behalf of the Commission President , 
presenting a proposal to move the Pioneer Monument . He 
explained that it will cost as much to protect the 
monument during construct ion as to move it and that the 
library will loose valuable space if the monument is left 
in place. A decision is needed in 30 to 45 days as t he 
schematic design phase begins in the Fa 1 1 . 



VACMINf>.20-twm 



Page 



Ngj in Ka ras Lck, Ci t\ \rclii t pet , st at ed thai t he i t.< 
lie discussed ns broadly as possible, and thai the 
Implications of Leaving I he monument in pi ace had 
fully understood when the bond measure was writtei 



Cathj Si mon , t ho Project <\rchi 
W i n ke 1 s te i n Morris, Archi lects 
considerations which bad led t 
Programmat i<': There are many 
on i he 1 ower I eve I of I he I i hi 
Aesthetic: The monumenl till 
library to people driving on II 
1/2 of i I will be visible a I a 
Ms. Simon showed a photographs 
location ami two possible new 



Led of S i inn 1 1 M; 


i I 1 i n- 




, out I i ned s<>\ ■•! 


a 1 




• the pi oposa 1 : 






lemands for t he 


use o 


t spat- 


>c hidd» n hi i In 


is-a I 1 


el M, 


distance. 






of t he monume n ' 


s pr 


'■"III 


1 ocat ions . 







The Committee accepted publ Lc test imony 
The following individuals spoke: 



at this point . 



Gray Brechin , c o-curator of Visionary S an Fr anc l_sj 
historian, noted that the bequest of James Lick 
specifically asked that the monument be Located next 
City Hall. It is not there now. Me stated that the 
monument should be moved to a more prominent site to 
consistent with the bequest. 



be 



Commissioner Healy asked what programmatic needs would be 
served by moving the monument and who would pay for the 
move. Ms. Simon replied that the childrens library and 
the auditorium would be directly impacted. Mr. Karasick 
said that he thought the bond issue could move, reinstall 
and (possibly) clean the monument. 

Dr. Terence Faulkner of the Native Sons of the Golden West 
- Parlor #1, opposed moving the monument. 

Margorie G. Stern , a former member of tLie Library 
Commission quoted historian Albert Shumate, who stated 
that to move the monument is no disgrace, but is an old 
San Francisco tradition. 

Mary Louise Strong , a former Library Commissioner and 
founder of Friends of the Library said thai the Lilirarj 
will give better service to the 'it Lzeris of San Francisco 
if the monument is moved. She felt that the oil Lzi ns want 
the best possible new I Lbrary. 



VACM1NG . 20- twin 



Page 



Raymond CLarj stated his hope I hnt if the Commission 
agrees to move the monument thej will requiri a 
performance bond to insure the funds exist for t.he 
reinstallation of the monument. 



Alex Bonut t i 



t he 
lenl 



'..'Ml 
III 



mov i ng I lm moi 
from I he monument so peop 
that moving the moniimenl 
and aesthetic benefits of 



it ed 
do 

ii Id 



i t 



t I 



\ I \ spoke 
t t t.-i f I i e 
• it enjoy i t 
nhance bo t h 



i lr ., 

iw rio 

He ■ I 
ip his 



t ed 



James Haas asked I he Co mini * I ee 
o I' the I. ibrary and of tiie C i v ii 
testified that the spirit of tl 
century, when the Civic Center 
Progressive Movement; a spirit 
"to preserve without change is 



t ' 

C.'ei 


•ons idei 
iter. 


r bol li 1 In 
Ii . Haas 


" 


r>.,,|.. 


e f i 


ty at i 


he t i 1 1 1 1 i 


>f 


1 ll ■ 


was 


Inn It , 


was I Ik 






of < 


• 1 1 a I ) g e . 


He stati 


>d 


thai 


t o i 


■4 no re < 


mr t rad i t 


1 n 


ii 



Jane U i nslo w , Execul ive Director i-'i' the Friends ol the 
library supported the archi tect ' s concern for the 
importance of space on I he first floor of the L ibrar.< . 

Nina Fasulo from Senatoi Quentin Kopp's office, read > 
letter- from the Senator in which he voiced his streiiuoi 
opposition to moving the monument. He pointed out thai 
had always been the understanding of people during the 
campaign for Proposition \ that the monument would sta; 

Alana Zuppamm , Secretary of San Francisco Beaut Lful 
believes that James Lick would prefer a more important 
location than the current one. 



Commissioner Healy asked Ms. Zuppamm 
the San Francisco Meant if ul Committee 



o provide m 

"ll I 1 1 1 issui 



Terry Milne , a private c i t izen , asked the Commi 1 1 ee no I to 
make their decision based on the prel iminar y archi tec t. it ra J 
plans . 

Dale Carlson made closi ng remarks , no t i no; t ha t al t erna t i v< 
sites might be the berme on the Plaza opposite Civic 
Auditorium or in the present location of the Simon Bo] Lvar 
statue. He said the artwork was designed for a specific 
site in front of the old City Hall and that the site i 
not at all what it was. He reiterated that James Lick': 
bequest was for the monument, to be located at City Ha] I 
and that the monument would now be viewed against an H'i 
ft. i 180 degree surrounding wall. 



VACMIN6.20-twm 



Page 



Commissioner Healy asked that a mode] and drawings I" 
available to the Commissioners for viewing before M> 
meeting. A special meet i ng was ca.l IfH for Fi idaj June 
for- further review of the project. Commi ss i onei IFeaJ; 
asked thai the architects address t ho Legality of the 
move, I lie cost, the possible new Locations , I ho need I 
cleaning, t ho concerns of I ho Planning Depa r t merri and 
imparl on the Civic Center Master Plan. 



\" 



VAC: DISCUSSION 
AGENDAS 



()I 



FUTURE MEETING SCHT- DIM I 



AN!) 



Due to the number of major' items upcomine on the ' i •--.ua 1 
Arts Committee agenda, t ho Committee entered into a 
discussion as to t ho t i in i ng of presentations anil need I'M 
special meetings. The projects were agendized as fol lows: 



Special Meetings: 

Monday, July 9, L990, lpm: 

Wednesday, August 1, 1990, 3pm: 



Mont a 1 Ilea I t li Far- 
screen i ng 
Moscono Expansion 
screen ing 



I i t ^ 



Regular Meetings: 

Wednesday, July 18, 1990, 3pm: 



San Vndreas Water 
Treatment Plant concepl 
approval 



Market Street Design 
Team discussion of 
parameters 



Wednesday, August 22, 1990, 3pm: 



Bush-Polk Parking 
Garage selection of 
f inal i s t 



VII. ART ENRICHMENT: NEW LIBRARY 

Jill Manton presented slides of the finalists recommended 
by the Advisory Committee to participate on the design 
team of the new Library. She reminded the Commit too that 
the artists will, work as co-designers with the architects 
and will enter into a series of dialogues with community 
artists and other community members involved with ttie 
library. The artist.s may choose to design a specific- area 
or section of the building, such as the child reus Library , 
glass surfaces, etc. ft is planned thai Individual 



VACMINH. 20-twm 



Page 



artworks will also be purchased with the intent of 
celebrating San Francisco's ethnically diverse community. 
Commissioner Mesa-Bains spoke of tier regret for the lack 
of multi-cultural influence in the selection of finalists, 
because of the way in which different cultures use and 
occupy space. She asked that the art ists be advised about 
different cultural pract ir-ps during the design phase. Ms. 
Ma n t on stated her plan to bold public mee tings with 
community members Lnc iud i ng art i s ts to introduce the w • . 
library. Commissioner Mesa-Bains asked that children and 
families be particularly included. Commissioner Boas asked 
that the art ists include i r » their focus the idc.-i of the 
Book As \rt. The seven finalists are: tot bit Baumgarten, 
Alice Aycock, Nunc Hamilton, Bruce Naumann, John Wooda] I, 
Nayland Blake and .John Raldessarj . John Baldessni i and 
Bruce Naumann have declined the commission, thu? 5 
finalists remain out of whom 3 or 1 artists will he 
se lee toil. 

OLD BUSINESS 

VI IT. COLLECTIONS: DIEGO RIVERA MURAL 

Collection Manager Dehra I ehane reported that the matter 
of moving the mural would be discussed at the June 28th 
meeting of the City College Board of Governors. Ms. 
Lehane and Commissioner Mesa-Bains are trying to encourage 
the Committee to make the financial commitment to move the 
mural . Commissioner Boas asked that architect ban Gregory 
be added to the advisory learn. Ms. lehane explained how 
she was hand 1 i ng that need by meet i ng with the arch i t e Is 
and others involved as to how the mural would be instal I'd 
and viewed and other concerns. She said that she wo iJd 
contact Mr. Gregory. Ms. Lehane noted that the cost of 
moving and reinstalling the mural would be about $500,000. 
Commissioner Healy thanked Ms. Lehane and Commissioner 
Mesa-Bains for their work. 



IX. ART ENRICHMENT: EMBARCADERO TRANSII PROJF.i I 

Jill Manton reported briefly on the ongoing effort to 
involve the Visual Arts Committee and Civic Design i n the 
review of the Embarcadero Waterfront Transport.al ion 
Projects. Ms. Manton reported that the I'nrt Commission 
had passed a resolution that would allow t ho \r1 
Commission to be involved i n the architectural review and 



VACMIN(') . 20-twm Page 



public arl component of the Embarcadero Project . She nls< 
ment Loned that as a resu I t of a let tor from Doug Wright I 
MUNI, the Market Street Design Team has been invited to 
participate in the design of upper Market Street . 



REPORTS AND ORDERS 



1. Ordered: Motion to approve exhibition concept 
three consecui ive solo exhibit ions f 
artists Andrea Brady, Kerry V'ander M 
Amie Laird MrNeel at I lie Aits Commis 
Gallery, August 9 through September 
1990. 

Motion: Amalia Mesa-Bains 
Vote: 3 ayes, 1 abstention 



ei am 
3 i o n 



There being no furl her business, the m^et i rig was ad 
at 6:30 pin. 



joui in -I 



Subin i tt ed , 



Ton ia Macne i 1 

Curator, Public Art Program 

7/5/90 



VACMiNfi . 20-twm 



Page - 7 




VISUAL ARTS COMMITTEE 



45 Hyde Street 

Suite 319 

San Francisco. CA 94102 

415 558 3463 



MAYOR 
Art Agnoj 



COMMISSIONERS 

Robert F. LaRocca 
President 

Nancy Boos 
Vice President 

Vernon Alley 

Stanley Elchelbaum 

Kim Fowler 

Daniel Genera 

AmeHealy 

John Kilken 

Amolla Mesa-Balna. Ph.D. 

"_" Okamoto 
»T" ~ ' sekraro 
^ jklar 



SPECIAL MEETING 

FRIDAY, JUNE 29, 1990 

A Special Meeting of the Visual Arts Commission will be 
held on Friday, June 29th, 1990 in Room 300 (3rd Floor) of 
the San Francisco Department of Public Health at 101 Grove 
Street on the corner of Grove and Polk Streets. The 
meeting will take place at 3:00 PM. 

AGENDA 

I. COLLECTIONS: PIONEER MONUMENT 

Discussion of possible relocation of Pioneer Monument 

II. ART ENRICHMENT: NEW SAN FRANCISCO MAIN LIBRARY 
Viewing of slides of remaining finalists 

ADJOURNMENT 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission, 
Planning Commission, 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



r- 




City and County 
of San Francisco 




VISUAL ARTS COMMITTEE MEETING MINUTES 

FRIDAY, JUNE 29, 1990 

A special meeting of the Visual Arts Committee was held on 
Friday, June 29, 1990 at 3:00 PM in Room 300 of the 



25 Van Ness Avenue 

saTFrancisco.cA 94102 Department of Public Health at 101 Grove 

(415) 554 -967 1' 



MAYOR 
Art Agnos 



ROLL CALL: COMMISSIONERS PRESENT 
Anne Healy - Chair 
Nancy Boas 
Robert LaRocca 



COMMISSIONERS ABSENT 
Amalia Mesa-Bains 



STAFF PRESENT: 



Debra Lehane 
Jill Manton 



COMMISSIONERS 

Barbara Sktar 
President 

Nancy Boas 
Vice President 

Vernon Alley 

Stanley Elchelbaum 

Kim Fowler 

Daniel Genera 

Anne Heaty 

John Krlken 

Robert F. LaRocca 
■Arrjoiia Mesa-Bains. Ph.D. 
► . Okamoto 
-juuie Rosekrans 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commteslon 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Collection 
Crvic Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
^.155 Grove Street 
■fe£^54-9682 



There being a quorum, the Committee proceeded to its 
formal business at 3:50 PM. 

DISCUSSION: The following subjects were thoroughly 
discussed and administrative directives suggested (where 
appropriate) . 

SUBJECTS/ADMINISTRATIVE DIRECTIVES/DISCUSSION 

I. COLLECTIONS: PIONEER MONUMENT 

City Architect Norman Karasick presented the Commissioners 
with information which had been requested at the June 20th 
Visual Arts Committee meeting when the subject of a 
possible relocation of the Pioneer Monument was first 
discussed. Mr. Karasick advised the Committee that the 
Library Bond money could legally pay for moving the 
monument, preparing a new foundation, for storage and for 
cleaning the monument. 

According to the City Attorney's office, there is no legal 
reason the monument cannot be moved, but it should stay 
within the Civic Center area. 



A problem does exist with making a dec 
however. The Civic Center is in the p 
studied for an Environmental Impact Re 
this study is completed, no decision c 
Committee needs full knowledge before 
course of action. It will probably ta 
EIR to be completed. The EIR cannot be 
piecemeal to deal with this issue. Mr. 
the Committee that it can at this time 
explore locations, if interested. The 
the issue of the monument relocation. 



ision at this time, 
rocess of being 
view (EIR) and until 
an be made since the 
recommending a 
ke a year for the 
split or completed 
Karasick informed 
direct staff to 
EIR wi 1 1 address 



Page 1 



ARTS COMMITTEE MINUTES/JUNE 29, 1990 

Commissioner Steven Coulter of the Library presented a 
historical map and photographs of the monument. He 
assured the Committee that the cost estimate includes 
reinstalling. He indicated aesthetic concerns for the 
monument and wanted to honor the historical monument by 
providing a better and more appropriate site. He 
indicated that the library is willing to accept its 
responsibility in order to make this happen. The future 
site of the Fulton Street Mall was suggested as a site 
possibi 1 i ty . 

At this time testimony from the public was accepted. 

Winchell T. Hayward - Affiliated with Victorian Alliance, 
Mr. Hayward opposed moving the monument for the following 
reasons: The pioneer monument is the only pre 1906 
monument still standing in the Civic Center; moving the 
monument will diminish the historical significance; 
concern was expressed about the stone work and the amount 
of damage and replacement which might occur; the wide 
curve was also part of the monument; a precedent would be 
set; the estimate was questions. 

California Heritage Council - a letter was submitted from 
the Council which expressed a desire to not move the 
monument. 

Anne Bloomfield - a member of the Landmarks Board was 
relieved that the decision would not be made at the 
meeting that day and suggested a joint committee which 
would include a member of the Landmarks Board. She also 
requested consideration of the impact on the monument, 
wants public consideration, better publicity and a public 
forum. 

Norman Karasick spoke for Planning Commissioner Sue 
Bierman. Ms. Bierman recognizes this location as an entry 
to the Civic Center. The New Library will create even 
more of an entry. It is fine to have a historical 
monument at an entry to the area and she would like to see 
the monument remain in its present location. 

Michael Levine - Mr. Levine conducts tours for City 
Guides and it currently a museum guide at the old mint. 
He prefers to leave history alone and the monument brings 
history to life. It would be a great loss to move the 
monument, but first the Committee must decide whether to 
move the monument. 

Gray Brechin - Mr. Brechin had one brief comment. How 
much will an 8 month delay cost the project? 



Page 2 



ARTS COMMITTEE MINUTES/JUNE 29, 1990 

Committee Chair Anne Healy, thanked everyone for their 
testimony . 

The Committee is thankful for more time to consider this 
matter and to have further input from other agencies in 
the consideration of this matter. The Visual Arts 
Committee would like to have the Civic Design Committee of 
the Arts Commission also consider this matter and identify 
possible sites for exploration. 

The meeting was adjourned at 4:40 PM. 

Submi tted , 



^kywu^Jht 



Debra Lehane 
Collections Manager 



Page 3 



DAVID OIBBLE 

GRAYSON W HINCKIEY 

R IORMEY HEROID 

JAMES LENHOFF 

JEAN MINASIAM 

RONALD PATTERSON 

HILLES PODESTA 

MRS DAVID E PORTER 

JUDGE HENRY R ROLPH 

KATRINE WATSON 




& 



Ja^y^_ J-9f 



CALIFORNIA HERITAGE COUNCIL 

CALIFORNIA TRUST FOR HISTORIC PRESERVATION 
TO SAVE OUR SIGNIFICANT BUILDINGS AND SITES 

41 SUTTER STREET, SUITE 422 ■ SAN FRANCISCO, CA 94104 ■ (415) 981-4860 



BOARO OF DIRECTORS 

CONTRA COSTA COUNTY 

BASIL C PEARCE 
LOUIS L STEIN JR 



June 28, 1990 



LOS ANGELES COUNTY 

JOHN D BERL 

BURNETT C TURNER 

MARIN COUNTY 

HERBERT J KONKOFF MO 

GEORGE NEWHALL 

CLAIRE COLLINS SKALL 



SAN FRANCISCO COUNTY 

DR HUGH BAKER 

LEONE WHITAKER BAXTER 

GEORGE H CABANISS. JR 

GRAY CREVELING 

MARSHALL DILL. JR 

JOHN FULLER 

WINCHELL HAYWARD 

RICHARD HOLLOWAY 

HERBLRF HOOVER 

MR & MRS PAUL ILG 

MARY BLOISE LUCEY 

ANITA NAi MAROIKIAN 

POLLY HATCH MOSBY 

MARSHALL MOXOM 

ELIZABETH O'SHAUGHNESSY 

MARIE OTTO 

MR t MRS HENRY I PRIEN 

WILLIAM R REILLY 

JOHN RITCHIE 

HARRIETT ROSS 

OR ALBERT SHUMATE 

DOUGLAS C VERNON 

JOHN W WARD 

WAYNE GORDON Will IAMS 

SAN MATEO COUNTY 

JANE CONEY 

GEORGE N PATTERSON 

MR 8 MRS LAWRENCE H PRAGER 

GERRY WOLFF 



SANTA CLARA COUNTY 

JUDGE R0BER1 F PECKHAM 
MRS CI IE ION II WOOOHAMS, JR 



The Art Commission 
101 Grove Street 
Room 300 
San Francisco, CA 

Dear Sir/Madam: 

It has come to our attention that The Art 
Commission, The Library Commission, and the architects 
designing the new library are considering moving the 
Pioneer Monument, which has been at the intersection of 
Hyde, Grove and Market Streets since 1894, to an 
undetermined new location. 

Today our organization held their monthly Board of 
Directors' Meeting and this issue was discussed at 
length. Our unanimous vote was in favor of not moving 
the Pioneer Monument. We feel that the Monument should 
stay exactly where it is, and the new library should be 
built around it, as promised in the 1988 Library Bonds 
measure, which was passed. We also feel that once a 
historical monument is moved, it loses its historical 
significance. 

Therefore, we respectfully ask that you not move 
the Pioneer Monument. 

Sincerely, 



7' 

Dorothy Kitt 
President 



~^ 



The Honorable Alan Cranston 
The Honorable Milton Marks 
The Honorable Quentin L. Kopp 
Market Street Development Corp. 
P.E.I., Cobb, Freed and Associates 




OFFICE OF 

CHIEF ADMINISTRATIVE OFFICER 



RUDOLF NOTHENBERG 289 CI1Y l iA t^ 

CHIEF ADMINISTRATIVE OFFICER SAN FRANCISCO 

CALIFORNIA 94102 
415/554-4851 



June 6, 1990 



Ms. Barbara Sklar 

President, S.F. Arts Commission 

45 Hyde Street, #319 

San Francisco, CA 94102 

Re: Pioneer Monument 

Dear Barbara: 

In all of our planning for the new Main Library at Marshall Square, we 
had assumed that it would be unfeasible financially, and perhaps 
politically, to move the Pioneer Monument from Its present location to a 
new location 1n Civic Center. 

It now turns out that leaving the monument where 1t is and constructing 
"around" it may be nearly as expensive as removing it and Installing it 
1n a new location. The project will accommodate itself to whatever is 
deemed more desirable by the Arts Commission. We do feel, however, that 
there will be advantages to the library and that there may be advantages 
to the City as a whole 1f there 1s a willingness to consider moving the 
monument within the Civic Center area. 

I'd appreciate being able to discuss this with you and other 
Commissioners/Staff as appropriate 1f you think that a move of the statue 
is at all feasible. 




Rudolf Nothenberg 

Chief Administrative Officer 



#2604Y 




45 Hyde Street 

Suite 319 

San Francisco. CA 94102 

415 558 3463 



VISUAL ARTS COMMITTEE MEETING 



MONDAY, JULY 9, 1990 



MAYOR 
Art Agnot 



A special meeting of the Visual Arts Committee will be 
held on Monday, July 9 at 1:00 pm in Suite 70 (Basement) 
of the new Arts Commission offices at 25 Van Ness, on the 
corner of Van Ness and Market Streets. The meeting will 
take place at 1:0U pm. 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vemon Aley 
Stanley Bchelbaum 
Kim Fowler 
Daniel Genera 
AmeHeary 
John Krtken 
Robert F. LaRocca 
Amalla Mesa-Bains, Ph.D. 
Rgl Y. Okamoto 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



AGENDA 

I. ART ENRICHMENT: SKILLED MENTAL HEALTH FACILITY. 
Selection of 3 artists from 9 finalists to execute the art 
enrichment program for the new facility. JPhyllis Harding, 
Director, Skilled Mental Health Nursing Facility, Susan 
Pont ious ) 

II. ART ENRICHMENT: NEW LIBRARY. Review of library 
f inal ists . ( J i 1 1 Manton ) 

III. ART ENRICHMENT: SAN ANDREAS I and II. Report on 
status and timelines of San Andreas projects. (Tonia 
Macnei 1 ) 

IV. ART ENRICHMENT: BUSH-POLK. Request for approval of 
funds for additional finalist (Shannon Shannahan ) for the 
design phase. (Tonia Macneil) 

OLD BUSINESS 

NEW BUSINESS 

V. ADJOURNMENT 







vacag7 . 9 



City and County 
of SanF'anclsco- 




25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



VISUAL ARTS COMMITTEE MINUTES 

JULY 9, 1990 

A special meeting of the Visual Arts Committee was held on 
Monday, July 9, 1990 at 1:00 PM in Suite 70 at 25 Van Ness 
Street . 



MAYOR 
ArtAgnos 



Commissioner La Rocca called the meeting to order at 1: 10 
PM. 



Roll: 



Commissioners Present 



Commissioners Absent 



COMMISSIONERS 

Barbara Sklar 
President 



Robert LaRocca 
Nancy Boas 
Amalia Mesa-Bains 



Anne Healy 



Vernon Alley 
Stanley Elchelbaum 
Kim Fowter 
Daniel Genera 
Anne Healy 
John Krtken 
Robert F. LaRocca 
Ap ollo Mesa-Bains. Ph.D. 
^~ imoto 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Park 
Commission 



Staff Present: 

Susan Pontious 
Jill Manton 
Tonia Macneil 

I. ART ENRICHMENT: SAN ANDREAS WATER TREATMENT PLANT 
PROJECTS I and II 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMC Art Collection 
CMc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
V554-9682 



Toni 

proj 

hist 

fund 

use 

prod 

art i 

Andr 

aspe 

rath 

plan 



a Mac 
ects , 
oric 
ing f 
the r 
uce o 
sts T 
eas I 
cts o 
er th 
ned . 



neil report 
noting tha 
photographs 
or San Andr 
emaining fu 
riginal wor 
im Collins 
I. Tim and 
f the entir 
an just the 



II. ART ENRICHMENT: 
FACILITY 



ed briefly on the status of the two 
t the cost of printing and installing 

as planned would use only half of the 
eas I . She stated that she plans to 
nds to hire artist-photographers to 
ks and will coordinate her plans witli 
and Reiko Goto's concepts for San 

Reiko will focus on the historic 
e watershed and water treatment system 

ozonation process as previously 



SKILLED NURSING MENTAL HEALTH 



Susan Pontious introduced members of the Mental Health 
Facility Project, Phyllis Harding, Director, Skilled 
Nursing Facility, Marianne Miller, Project Architect, and 
Randy Dixon, Architect, both of Kaplan, McLaughlin and 
Diaz, and Anton in Havn, Landscape Architect. She reminded 
the Committee of the scope of the project and asked them 
to select three artists from the nine finalists to work on 



VACMIN7.9-90twm 



Page 



three parts of the project , the interior, tlir> landscape 
and an artist-in-residence program. 

The artists will receive (he following design fees: $7,000 
for the interior part of the project, $3,750 for the 
artist-in-residence program and $3,750 for t tie landscape 
project. The fees do not include construction documents 
or engineering costs. Susan Pontious explained plans to 
apply to the California Arts Council for additional 
funding for the art ist- in— residence program. Phyllis 
Harding described the client population, which is expected 
to be 50% white, 25% black, 14% Latin and 11% Asian. 
After viewing the slides of the nine finalists, t h<= 
Committee selected Hilda Shum for the interior project, 
George Gonzales, landscape project, and Mildred Howard, 
artist-in-residence program. Commissioner Boas moved to 
approve the artists and fees as stated and Commissioner 
Mesa-Bains seconded. The ayes were unanimous. 

III. ART ENRICHMENT: BUSH-POLK PARKING GARAGE 

Tonia Macneil asked the Committee to approve the selection 
of artist Shannon Shanahan to create a maquette for design 
of grillwork for Bush-Polk Garage for a fee not to exceed 
$500.00. Commissioner Boas moved to approve and 
Commissioner Mesa-Bains seconded. The ayes were 
unani mous . 

IV. ART ENRICHMENT: NEW MAIN LIBRARY 

Jill Manton presented slides of the finalists recommended 
by the Advisory Committee to participate on the design 
team of the new library. She asked the Committee to make 
the final selection from the five artists presented. The 
Committee voted to select, artists Nayland Blake, Alice 
Aycock, Lothar Baumgarten and Anne Hamilton. Commissioner 
LaRocca made the motion, Commissioner Boas seconded. The 
ayes were unanimous. 



REPORTS AND ORDERS 

1. Ordered: Motion to approve the seleci ion of Gi 

Gonzales to design a work of art , and t< 
coordinate the art enrichment program ("or 
the Landscape areas of the Skilled Nursint 
Mental Health Far i L i t y , and to authorize 
the payment of a $3,7 50 design fee; 



VACMlN7.9-90twm Page 



to approve Hilda Shum to design a work of 
art and coordinate the art enrichment 
program for the Skilled Nursing Mental 
Health Facility building, and to authorize 
payment of a $7,000 design fee; and 

to approve the selection of Mildred Howard 

to design a work of art to be executed by 
Skilled Mental Health Nursing Facility 
clients as part of an artist-in-residence 
program, and to authorize payment of a 
$3,750 design fee. 
Motion: Nancy Boas 
Vote: Unanimous 



2. Ordered: 



for 



Motion to approve the selection of artist 
Shannon Shanahan to create a maquette lor 
design of grillwork for Bush-Polk Garage 
a fee not to exceed $500.00. 
Motion: Nancy Boas 
Vote: Unanimous 



3. Ordered: Motion to approve the selection of artists 
Nayland Blake, Alice Aycock, Lothar 
Baumgarten and Ann Hamilton to participate 
on the design team of the New Main Library 
and to authorize the Director to enter Into 
contract with the artists for a design fee 
ranging from $15,000 to $30,000. 
Motion: Robert LaRocca 
Vote: Unanimous 



There being no further business, the meeting was adjourned 
at 3:10 PM. 



Submitted, 



Tonia Macneil 

Curator, Public Art Program 



7/9/90 



VACMIN7.9-90twm 



Page 



City and County of San Francisco 

VAC\MEM7. ll-90twm 



Memorandum 



Art Commission 

Claire N. Isaacs 
DIRECTOR 



Date: 
To: 



July 11, 1990 



Anne Healy, Chair, Visual Arts Committee 
cc. VAC Members 



From: 



Subject: 



Tonia Macneil 



July 18 Agenda 

For your information, we are again faced with a long 
agenda. We have deleted a number of items, however, there 
are five mural approvals on this agenda due to a back-up 
in paperwork in the Mayor's Office. The artists have all 
been waiting a number of months and any further delay 
would jeopardize the completion of their projects before 
the rainy season. (Once they receive approval from the 
Commission they still have a month or two wait for funds 
to begin their projects. ) 

I have spoken to Conrad Okamoto about the time problem and 
have asked the artists to limit their presentations to 
five minutes apiece. They have all been given a list of 
the information they need to present, and are aware of the 
tight schedule. In addition, I will keep time during the 
meeting and warn people when the process is taking too 
long. This is an unusual situat ion which would not 
normally happen, but with effort and good cooperation it 
can be handled with speed and still be a careful review of 
the projects. 

The items under OLD BUSINESS can easily be tabled Lf t ime 
is limited at this meeting. 



lac 



25 VAN NESS AVE. SUITE 240 



SAN FRANCISCO, 94102 




25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



VISUAL ARTS COMMITTEE MEETING 

WEDNESDAY, JULY 18, 1990 

The regular monthly meeting of the Visual Arts Committee 
will be held on Wednesday, July 18, 1990 in Suite 70 at 25 
Van Ness Street, at the corner of Van Ness and Market 
Streets. The meeting wil 1 take place at 3:00 PM . 



MAYOR 
ArtAgnos 



COMMISSIONERS 

Barbara Sklnc 
President 

Nancy Boas 
Vice President 

Vernon Aley 

Stanley Bchelbaum 

Kim Fowler 

Daniel Genera 

Anne Meaty 

JohnKrlken 

Robert F. LaRocca 
^— »- Mesa-Bains. Ph.D. 
W camoto 

'■(yoale Rosekrani 



EX OFFiaO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission. 
Flannlng Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMcArtColectton 
Ctvtc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



APPROVAL OF MINUTES: 



COLLECT 
1. Mo 



IONS: 
nument Cons 



AGENDA 

June 20, June 29 and July 9, 
1990. 

CONSENT CALENDAR ITEMS 
ervation 



Motion 
Genevie 
Spanish 
2. Lo 



for final c 

ve Baird fo 

American W 

an of Artwo 



Motion 
Griffin 
exhibit 
to Febr 
3. Lo 



to approve 

Farr title 
ion at Shas 
uary 15, 19 
an of Artwo 



Motion 
titled 
Egyptia 
exhibit 
( Debra 



to approve 
"Sunset Ove 
n Museum an 
ion from Au 
Lehane ) 



ont 

r c 

ar 

rk 

the 

d: 

ta 

91 . 

rk 

the 

r P 

d A 

gus 



ract payment of $500.00 to 
onservation completion of the 
Monument at Market and Delores, 

loan of a painting by Charles 
"Calla in Library" to an 
College from December 15, 1990 



loan of a painting by Paul Bean 
aradise" to the Rosicrucian 
rt Gallery in San Jose for an 
t 1 to September 2, 1990. 



II. ART ENRICHMENT: MARKET STREET ART IN TRANSIT 
Discussion of parameters of Master Plan Process. 
(Andrea Cochran, Paul Kos, Topher Delaney and Members 
of the Market Street Selection Panel, Jill Manton. ) 

III. ART ENRICHMENT: SHERIFF'S WORK FURLOUGH 
Presentation of Artists' concepts. (Carl Cheng, 
Vicki Scuri, Doug Hollis, Project Architects Greg 
Williams and Ed Tanaka, Architects, Susan Pontious) 



Suite 430 

Sale-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
I S65 Grove Street 
^-■£"-9682 



IV. MURAL RESOURCE CENTER: Design Approval for murals 
(five minute presentation each) created by: 

Betsy Miller- Kutz for the 24th Street Mini-Park 
Miranda Bergman for the On Lok Asian Senior Citizen 
Center 



VACAGN7 . 20-90twm 



Page 



Horace Washington for the Aiice Griffith Housing 
Arthur McLaughlin for Operation Concern 
Yvonne Littleton for the Gay Support Facility. 
(Conrad Okamoto, Ray PnMan, Tonia Macneil) 

VI. ARTS COMMISSION GALLERY: FESTIVAL 2000 

Presentation of si ides and other materials of artists 
Hung Liu, Larry Andrews* and VoLanda Lopez* selected 
for indoor exhibition. (*ponding artist's 
con f i rmat ion) 

Presentation of proposal * en t i t led W1NDFLOWERS by 
artist Slobodan Dan Paich for City Site. 
(Adrienne Fuzee, Chair, Advisory Board, Anne 
Mei ssner ) 

VIT. ARTS COMMISSION GALLERY: EXHIBITION APPROVAL 

Request for Approval of Chain reaction VI in concept 
for exhibit December 6, 1990 to January 2fi, 199 1 . 
(Anne Mei ssner) 

IX. ART ENRICHMENT: MOSCONE EXPANSION 

Report on progress in collecting artists for final 
review on August 1. Fianl Call for suggestions from 
Committee Members. (Tonia Macneil, Jill Mant.on) 

OLD BUSINESS 

VIII. ART ENRICHMENT: SAN ANDREAS WATER TREATMENT PLANT 
Request for approval of artist photographers to 
create original artworks for installation at San 
Andreas Water Treatment Plant in coordinal ion with 
concepts being developed by artists Tim Collins and 
Reiko Goto. (Tonia Macneil) 

XI. ART ENRICHMENT: SCHEDULE FOR INSPECTIONS 

1. Studio Inspection of Steve Gillman's Sculpture 
for Pier 7. (Tonia Macneil) 

2. Inspection of Ned Kahn's Art Enrichment Project 
at the San Bruno County Jail. (Jill Man ton) 

NEW BUSINESS 

ADJOURNMENT 



VACAGN7. 20-yOtwm 



Page 



City and County 
of San Francisco 




25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



VISUAL ARTS COMMITTEE MEETING 
MINUTES 

JULY 18, 1990 

The regular monthly meeting of the Visual Arts Committee 

was held on Wednesday, July 18, 1990 at 3 pm in the Arts 

Commission Conference Room, Suite 70, at 25 Van Ness 
Avenue . 



MAYOR 
ArtAonos 



COMMISSIONERS 

Barbara SkJar 
President 

Nancy Boas 
Vice President 

Vernon Alley 

Stanley Eichelboum 

KlmFowter 

Daniel Genera 

AmeHealy 

John Krlken 

Robert F. LaRocca 
gS^'K; Mesa-Bains. Ph.D. 
^^ jmoto 

uuuie Kosekrans 



EX OFFiaO MEMBERS 

Presidents ot the 
Rne Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



Commissioner Healy called the meeting to order at 3:15 pm. 



Commissioners Absent 
Amalia Mesa-Bains 



Roll: Commissioners Present 

Anne Healy - Chair 
Robert LaRocca 
Nancy Boas 

Staff Present: Tonia Macneil 
Debra Lehane 
Jill Manton 
Susan Pontious 



I. APPROVAL OF MINUTES for June 20, June 29 and July 9, 

1990, Regular and Special 
Meetings . 

The minutes of June 20, June 29 and July 9, 1990 meetings 
were approved as read on a motion by Commissioner Boas. 
Commissioner LaRocca seconded. The vote was unanimous. 



II. COLLECTIONS; 



CONSENT CALENDAR ITEMS 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
Civic Art CcJectton 
CMc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sale-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
^■1*^9682 



The following items were approved on a motion by 
Commissioner Healy. Commissioner LaRocca seconded. The 
ayes were unanimous. 

1. Monument Conservation 



Motion for final contract payment of $500.00 to 
Genevieve Baird for conservation completion of the 
Spanish American War Monument at Market and Delores, 
2 . Loan of Artwork 



Motion to approve the loan of a painting by Charles 
Griffin Farr titled: "Calla in Library" to an 
exhibition at Shasta College from December 15, 1990 
to February 15, 1991. 
3. Loan of Artwork 



Motion 
titled 



to approve the loan of a painting by Paul Bean 
"Sunset Over Paradise" to the Rosicrucian 



VACMIN7. 18-90twm 



Page 



Egyptian Museum and Art Gallery in San Jose for an 
exhibition from August 1 to September 2, 1990. 
( Debra Lehane ) 

II. ART ENRICHMENT: MARKET STREET ART IN TRANSIT 

Jill Manton introduced Topher Delaney and Andrea Cochran, 
members of the Market Street Design Team, and explained 
that the Team has been doing research on Market Street and 
about public art and art in transit programs throughout 
the country. The architects noted that the public art 
they considered successful was often playful, and usually 
involved people in unexpected ways. They mentioned the 
need for more on-site education about the art already in 
place on Market Street, suggesting the installation of 
plaques . 

A question was raised as to the relationship between the 
Market Street Art Master Plan and City Planning actions. 
Commissioner LaRocca stated that the Master Plan should 
include guidelines for both Design and Public Art. He 
said that the guidelines should be enforced by requiring 
Visual Arts Committee and Civic Design approval prior to 
permit approval. The Design Team then discussed several 
locations of interest to them, including Halliday Plaza 
and the Mechanics Monument Plaza. They are exploring the 
possibility of permanent performance spaces and cafes as a 
means to vitalize those areas. Commissioner LaRocca 
suggested that contemporary artwork, "objects in the 
environment", should also be considered, as currently only 
historic works are prominent on Market Street. 

III. ART ENRICHMENT: SHERIFF'S WORK FURLOUGH 

Susan Pontious explained that artists Carl Cheng, Vicki 
Scuri and Doug Hollis had been working with the architects 
over the last two months and have completed schematic 
designs for the project. An intensive review of their 
ideas by the Sheriff's Department, and members of the 
Civic Design and Visual Arts Committees has taken place 
over the last week. 

Ms. Pontious asked for the Committee's support of the 
direction which the artists are taking at this point. 
Their concepts include treating the insides of the cells, 
the street level plaza the glass surfaces and the atrium 
spaces . 



VACMIN7. 18-90twm Page 



Commissioner Boas felt that Vicki Scuri's concept of 
decorating the street plane was out of place and 
questioned the relationship of the seating to the 
building. She also felt that the treatment of the cells 
was cartoonish and representative of a dungeon. Greg 
Williams, Project Architect, stated his support for the 
artist's concepts and noted that all of the ideas still 
needed work and discussion. Lt. Levine from the Sheriff's 
Department spoke in support of the street level treatment 
as a way to draw people to a major new focus of the 
complex . 

Commissioner LaRocca moved to approve the concepts as 
presented by the 3 artists in the schematic stage. 
Commissioner Healy seconded. The vote was 2 ayes, 1 nay. 
Commissioner Boas stated that she voted no because she did 
not approve of Vicki Scuri's concept for the street level 
plaza treatment. Commissioner Boas asked that her 
concerns to be addressed before giving her approval. 

IV. MURAL RESOURCE CENTER 

1 . Horace Washington and Ray Patlan presented a 
design for a mural at the Alice Griffith Housing. The 
mural will be seen by people driving to Candlestick Park. 
The residents of the Center asked for a happy mural 
depicting Seniors involved in recreation. The mural will 
be 20 by 50 feet, and will incorporate two existing 
windows and a door into the design. Commissioner LaRocca 
moved to approve the mural. Commissioner Boas seconded. 
The ayes were unanimous. 

2. Miranda Bergman showed her design for a mural at 
the On Lok Senior Center. The design incorporates images 
of elders, children and themes from classical Chinese Art. 
It will encircle the childrens play area, and will be seen 
from close quarters, so that it will be detailed and 
illusionistic . The dimensions are 10 x 200'. Commissioner 
Healy moved to approve the mural. Commissioner Boas 
seconded. The ayes were unanimous. 

3. Betsy Miller-Kutz presented her design for two 
additional mural at the 24th Street Park. The walls 
surrounding the park are already nearly covered with 
murals, which are being renovated. The new murals will be 
painted on portable panels, one 20 x 10' , and one 25 x 
20'. The other muralists whose work is in the park have 
been notified and have given their approval to the new 



VACMIN7. 18-90twm Page 



designs. Commissioner Healy asked that there be a gap 
between the old and new murals to define their boundaries. 
Commissioner Healy moved, and Commissioner LaRocca 
seconded approval of the murals. The Ayes were unanimous. 

4. Arthur McLaughlin and Yvonne Littleton described 
their plans for a mural and mosaic sculpture at the Gay 
Support Facility of Operation Concern. Yvonne's lobby 
mural will consist of 3 9'xl7' canvas panels painted in 
the colors of the Rainbow Flag and emphasizing humor and a 
positive attitude. Commissioner Healy moved and 
Commissioner LaRocca seconded approval of the concept. 
The ayes were unanimous. 

Arthur McLaughlin proposed a free-standing mosaic piece 
for the atrium, using recycled materials and tile. The 
piece will commemorate those who have died of AIDS. 
Commissioner LaRocca moved and Commissioner Healy seconded 
to approve the concept. The ayes were unanimous. 

V. ARTS COMMISSION GALLERY: FESTIVAL 2000 

Gallery Director Anne Meissner showed examples of the work 
of three artists, Hung Liu, Yolanda Lopez and Larry 
Andrews, who have been selected to share the exhibition 
space during Festival 2000. The title of the exhibition 
will be IMPLOSION. The concept implies the force of the 
outward pressure of society producing an inner creative 
explosion. Hung Liu uses the history of the Chinese in 
San Francisco in the 19th Century as subject matter for 
her paintings. Yolanda Lopez will produce an installation 
piece. Larry Andrews, an African American, will produce a 
video tape. Commissioner Healy reminded the committee 
that they should approve the actual works to be shown 
rather than just the artists. She moved that the 
Committee give conditional approval to the concept pending 
presentation of materials presented by the artists. 
Commissioner LaRocca seconded. The ayes were unanimous. 

Anne Meissner ' presented the proposal of Slobodan Dan Paich 
for City/Site, called WINDFLOWERS. The installation will 
include ladders and pinwheels and provide platforms and 
spaces for performances throughout the month. The space 
will be closed to the public most of the time except 
during special occasions. Commissioner Healy said that 
the proposal was incomplete especially at to how things 
would be attached to walls and how safety issues would be 
handled. She asked that the artist produce a more 



VACMIN7. 18-90twm Page 



detailed proposal addressing those concerns before 
approval were given. 

VI. ARTS COMMISSION GALLERY: EXHBITION APPROVAL 

Anne Meissner asked for concept approval of the exhibition 

Chain Reaction VI for December 6, 1990 to January 26, 

1991. 

Commissioner Boas moved to give approval and Commissioner 

LaRocca seconded. The ayes were unanimous. 

VII. ARTS ENRICHMENT: MOSCONE EXPANSION 

Tonia Macneil reported that staff has collected the names 
of nearly 80 artists of color for consideration for the 
"Large Wall". Staff is in the process of making a 
selection from those who have submitted materials, and 
additional suggestions for the August 1st review were 
welcome at that time. The August 1st meeting will include 
review of the 15 artists previously selected as well as 
the new group. It is expected that finalists for the 
project will be identified at that time. The Committee 
agreed that Rudy Nothenberg and Commissioners Rosekrans 
and Kriken be specially invited to attend. 

VIII. ART ENRICHMENT: SAN ANDREAS WATER TREATMENT PLANT 

Tonia Macneil explained the current status of the two 
Water Treatment Plant Projects. She asked the Committee 
to approve two photographers, Richard Barnes and Robert 
Dawson for purchase of original artworks for San Andreas I 
and for integration with the concepts being developed by 
Tim and Reiko Collins for San Andreas II. Commissioner 
Healy moved and Commissioner LaRocca seconded approval of 
the two photographers for purchase of original artwork for 
the San Andreas Projects. The ayes were unanimous. 

IX. ART ENRICHMENT: SCHEDULE FOR INSPECTIONS 

The item was removed from the agenda as no decision of the 
Committee was needed. 

NEW BUSINESS 

X. VAC: ORDINANCE 

Jill Manton announced that the Public Art Program staff is 
now working on the draft for the new ordinance and 



VACMlN7.18-90twm Page 



guidelines, and that particular attention needed to be 
paid to the development of a mission statement for the 
Program. 

XI. COLLECTIONS: PIONEER MONUMENT 

Jill Manton announced that the moving of the Pioneer 
Monument had become a moot point as the architects could 
not be expected to hold up their design until the 
environmental impact report was complete. A discussion 
followed concerning the possibility of recording the 
Committee's opinion on the issue and the Committee asked 
that the issue be further explored. 

REPORTS AND ORDERS 



1. Ordered: Motion to approve final contract payment of 

$500.00 to Genevieve Baird for conservation 
completion of the Spanish American Monument 
at Market and Delores. 
Motion: Anne Healy 
Vote: Unanimous 

2. Ordered: Motion to approve the loan of a painting by 

Charles Griffin Farr titled: "Calla in 

Library" to an exhibition at Shasta College 

from December 15, 1990 to February 15, 

1991 . 

Motion: Anne Healy 

Vote: Unanimous 

3. Ordered: Motion to approve the loan of a painting by 

Paul Bean titled "Sunset Over Paradise" to 
the Rosicrucian Egyptian Museum and Art 
Gallery in San Jose for an exhibition from 
August 1 to September 2, 1990. 
Motion: Anne Healy 
Vote: Unanimous 

4. Ordered: Motion to approve Carl Cheng's concepts in 

the schematic stage for the Sheriff's Work 
Furlough Project. 
Motion: Robert LaRocca 
Vote: Unanimous 



VACMIN7. 18-90twm Page 



5. Ordered: Motion to approve Vicki Scuri's concepts in 

the schematic stage for the Sheriff's Work 
Furlough Project. 
Motion: Robert LaRocca 
Vote: 2 ayes, 1 nay 

6. Ordered: Motion to approve Doug Hollis' concepts in 

the schematic stage for the Sheriff's Work 
Furlough Project. 
Motion: Robert LaRocca 
Vote: Unanimous 

7. Ordered: Motion to approve the concept and design of 

a mural by Horace Washington for the Alice 
Griffith Housing. 
Motion: Robert LaRocca 
Vote: Unanimous 

8. Ordered: Motion to approve the concept and design of 

Miranda Bergman for a mural at he On Lok 
Senior Center. 
Motion: Anne Healy 
Vote: Unanimous 

9. Ordered: Motion to approve the concept and design of 

Betsy Miller-Kutz for murals at the 24th 
Street Park. 
Motion: Anne Healy 
Vote: Unanimous 

10. Ordered: Motion to approve the concept and design 

for a mural by Yvonne Littleton and a 
mosaic sculpture by Arthur McLaughlin for 
the Gay Support Facility. 
Motion: Robert LaRocca 
Vote: Unanimous 

11. Ordered: Motion to give conditional approval to the 

exhibiton titled IMPLOSION, including 
artists Hung Liu, Yolanda Lopez and Larry 
Andrews pending review and approval of 
actual work to be exhibited. 
Motion: Anne Healy 
Vote: Unanimous 

12. Ordered: Motion to approve Chain reaction VI in 

concept for exhibit December 6, 1990 to 
January 26, 1991. 



VACMIN7. 18-90twm Page - 7 



Motion: Nancy Boas 
Vote: Unanimous 

13. Ordered: Motion to approve the purchase of original 
artworks from photographers Richard Barnes 
and Robert Dawson for San Andreas I in 
coordination with artists Tim and Reiko 
Collins' concepts for San Andreas II. 
Motion: Anne Healy 
Vote: Unanimous 

There being no further business, the meeting was adjourned 
at 5:35 pm. 

Submitted , 



Tonia Macneil 

Curator, Public Art Program 

7/27/90 



VACMIN7. 18-90twm Page - 




%gsiarucian Tflyptian Museum and Art Qaikiy 

Paul Andrew Bean 
A Contemporary Perspective of Nature 



Exhibiting August 1 - September 2, 1990 



Reception August 4, 1990, 1 to 4 p.m. 



Paul Andrew Bean has combined realism, surrealism, contemporary, and visionary styles to 

create his own unique perspective of nature. His current work focuses on the preservation of nature 

and the serious environmental issues that face our world today. His works will be on exhibit at the 

Rosicrucian Egyptian Museum Art Gallery from August 1 through September 2. The public is 

welcome to meet the artist at the reception on August 4 from 1 to 4 p.m. 

- . Born in Oroville, California in 1956, Paul was inspired by his brother, sister, and mother-all 

► i artists. Primarily a self-taught artist, he also looked to the early Renaissance period in Europe 

'and the 19th-century pre-Rafaelite painters in England for further inspiration. In 1977 Paul became 

paralyzed from a medical accident. Although his physical disability has changed every aspect of his 

life and he must rely on special adaptive equipment and a wheelchair, his determination to become 

a fine artist has overcome these difficulties. He has had seven one-man shows in California and has 

participated in many group shows. His works have been reproduced on calendars, note cards, and 

posters. 

Paul's images of nature reflect his love for nature. "My work defines my impression of nature, 
just as nature defines my impression of God. Nature is God's art. It's beauty and purpose on earth 
should never be jeopardized for the sake of mankind's destruction and neglect." 

Hours of Operation 

Tues.-Sat. 9 a.m. to 5 p.m. 

Sun. Call (408) 287-2807 for hours 

Mon. CLOSED (except holidays) 

Saturday & Sunday mornings, 9 to 11 a.m., FREE to All 
For Additional Information contact Susan Wageman, Assistant Curator, at (408) 287-2807. 



Admission Rates 




Adults 


$4.00 


Seniors & Students 


$3.50 


Age 7 to 15 


$2.00 


Under 7 years 


FREE 



sjnoq img joj i082-£8Z ll E 

(sXepi[oq idaaxa) uoj^ pasojQ 

S»16 '? B S " S3n X 



wnasnw 

WVUd03 
uvorKoisoa 




USt ON llHtiBd 




»o 'asor n*s 




aivd 




wiisod sn 




NGiXVZINVOCO JJlOtU NON 






ip^isanhoji uoipaaJO;) ssaappy] 

T000-T6TS6 einaojII^D <aso P "^S 
5fjBtj uBionaoisou 




%psicrucian Egyptian Museum and flrt Qattery 



Thomasin Grim 



Now Showing 

Fiber Art 



Jun. 27 - Jul. 29, 1990 



Paul Andrew Bean 
Lisa Kanemoto 
Mimi Chen Ting 
Garret Moore 



Upcoming Shows 

A Contemporary Perspective of Nature 

Documentary Photography 

Just Pictures 

Visionary Paintings 



Aug. 1 - Sep. 2, 1990 

Sep. 5 - Oct. 7, 1990 

Nov. 14 - Dec. 16, 1990 

Dec. 19, 1990 - Jan. 20, 1991 



City and County 
of San Francisco 




25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



VISUAL ARTS COMMITTEE MEETING 
WEDNESDAY, AUGUST 1, 1990 



MAYOR 
Art Agnos 



COMMISSIONERS 

Barbara Sklar 
President 



Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Krlken 
Robert F. LaRocca 
■'rnalla Mesa-Bains. Ph.D. 

^^ ) TtOtO 

^^ akrans 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



NEW BUSINESS 



PROGRAMS 

Arts Festivals 

Civic Art Collection 

CMc Design Review 

Neighborhood Arts 

POPS Symphony Concerts ADJ OURNMENT 

Public Art Program 

Street Artists Licenses 



A Special Meeting of the Visual Arts Committee will be 
held on Wednesday, August 1, 1990 in the Arts Commission 
Conference Room, Suite 70, at 25 Van Ness Avenue. The 
meeting will take place at 3:00 PM. 

AGENDA 

I. ARTS ENRICHMENT: PIER 7 

Request. to extend Fabrication Contract for Steve Gillman 
to Scptcml»cr - "1 &- for administrative purposes. Request for 
approval of final payment on Fabrication Contract. 
Authorization to enter into contract with Steve Gillman 
for Transportation and Installation of Artwork. 

II. ARTS COMMISSION GALLERY: FESTIVAL 2000 

Request for approval of Gallery Exhibition of works by 
Larry Andrews, Yoland Lopez and Hung Liu. 

Request for approval of City/Site artist and proposal for 
Festival 2000. 

III. ARTS ENRICHMENT: MOSCONE CENTER EXPANSION 
Review of artists for the "Large Wall". Selection of 
Finalists. Request for approval of: 

- budget for maquette fees and for artwork. 

- calendar for maquette phase 

- Program Concept and timeline for Exterior Site. 

OLD BUSINESS 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Galtery 
155 Grove Street 
1-9682 




VACAGN8. 190TWM 



City and County 
of San Francisco 




25 Van New Avenue 

Suite 240 

San Francisco. C A 94 1 02 

(415)554-9671 



VISUAL ARTS COMMITTEE MEETING 
MINUTES 

AUGUST 1, 1990 

A special meeting of the Visual Arts Committee was held on 
Wednesday, August 1, 1990 at 3pm in the Arts Commission 
Conference Room, Suite 70, at 25 Van Ness Avenue. 



MAYOR 
ArtAgnos 



Commissioner Healy called the meeting to order at 3:15 pm. 
Roll: Commissioners Present Commissioners Absent 



COMMISSIONERS 

Baibara Sklar 
President 

Nancy Boas 
Vice Ptesldent 

Vernon Alley 

Stanley Elchelbaum 

Kim Fowler 

Daniel Genera 

Anne Healy 

John Krlken 

Robert F. LaRocca 
J^~" < 'isa-Balns. Ph.D. 
^^ noto 

uodie Rosekraro 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Part< 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Colectlon 
Civic Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Anne Healy - Chair 
Amalia Mesa-Bains 
Nancy Boas 
Robert LaRocca 



Staff Present: 



Jill Manton 
Susan Pontious 
Tonia Macneil 
Debra Lehane 



I. ART ENRICHMENT: 

Commissioner LaRocca 
reported on the July 
view the completed a 
architect from ROMA, 
site team agreed tha 
transportation and i 
could be approved co 
following details: 

1. File edges of gr 

2. Patch holes in g 

3. Trim all vertica 

4. Complete splitti 

continuous edge 

5 . Clean and seal g 
Final inspection for 
contract will take p 
detail work. 



PIER 7 
, Tonia Macneil and Debra Lehane 

31 trip to Steve Gillman's studio to 
rt work for Pier 7. Jerry Manifold, 

was also present on the visit. The 
t the work was ready for 
nstallation and that the fabrication 
ntingent upon the completion of the 

illwork 

rani te 

1 faces 

ng of diagonal faces to form 

ranite 

approval to pay on the fabrication 
lace following the completion of all 



Suite 430 

Scrte-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
^^i Grove Street 
C- 5 -'B2 



Commissioner Healy moved to approve an extension of the 
Fabrication Contract to October 31 for administrative 
purposes, and to authorize the Director to enter into 
contract with Steve Gillman for the Transportation and 
Installation of the artwork. Commissioner LaRocca 
seconded. The ayes were unanimous. 



VAC-MIN8. l-90Lwm 



Page 



II. ARTS ENRICHMENT: MOSCONE EXPANSION 

The Committee held a discussion of the guidelines for 
making a selection of finalists for the "Large Wall". 
Tonia Macneil reminded the Committee that the criteria for 
selection included: 

1. That it be celebratory 

2. That it make reference to San Francisco or be produced 

by a San Francisco artist 

3. That it be produced for a maximum of $250,000 budget. 

Commissioner Mesa-Bains said that most artists don't refer 
to San Francisco in their work and that "making reference" 
was too limiting. "Referring" to San Francisco could be 
an abstract such as the quality of light or the use of 
color, etc. The Commission agreed that the criteria for 
the project should be carefully worded in this matter. 

Commissioner LaRocca requested some guidance as to whether 
nationally known or emerging artists should be given 
precedence in this selection. Commissioner Healy said she 
was uncomfortable with any restriction. Commissioner Boas 
said the Committee should look at this as an opportunity 
to have wonderful art, regardless of whether the artist 
was emerging or not. 

Commissioner Healy emphasized the need for a lasting work 
of art rather than anything trendy. She reported a 
telephone conversation with the CAO, Rudy Nothenburg , who 
stressed that the Committee should not be bound by any 
deadline but should deliberate as long as necessary to get 
quality work. 

Commissioner Boas said that some artists fit into the 
$250,00 budget and some don't. She wondered whether Mr. 
Nothenburg would like to see the total budget more evenly 
divided. Commissioner Healy said that she had 
discussed that issue with the CAO and he was comfortable 
with the Committee's decision. Germaine Wong, the CAO's 
representative, said the division of the budget was the 
Committee's choice and that in fact Mr. Nothenburg liked 
the idea because it means more people will see a major 
outdoor work. 

The Committee viewed slides and materials of 38 new 
artists presented by the curatorial staff. They then 
viewed the slides of the 16 artists who had been selected 



VAC-MIN8. l-90twm Page - 2 



at the May 9th meeting. The Committee, including Germaine 
Wong from the CAO ' s office and Ronette King from Gensler 
and Associates, then cast a vote. The following artists 
received 3 or more votes on the first round: 
Hung Liu -5 Cheri Raciti -3 

Raymond Saunders -5 Oliver Jackson -3 
Ismael Frigerio -3 Manuel Neri -4 
John Valadez -3 Ellsworth Kelly -3 

Judy Pfaff -3 

A discussion followed concerning the size of the maquette 
fee and the proposal requirements. Ronette King stressed 
the need for art work which was truly site-specific. She 
reminded the Committee that the site is not a museum and 
that the selected art work should acknowledge the fact 
that Moscone Center is a public, not a private space by 
breaking out of the rigid rectangular format of a 
traditional painting. Ms. King said that the proposals 
should clearly show the relationship of the artwork to the 
site, and that the work could move beyond the flat wall to 
the side and into the lobby itself. The Committee agreed 
to a maquette fee of $4000 for each artist, which would 
cover all of the artists' expenses including travel and 
shipping . 

The Committee then agreed to reduce the number of artists 

selected for the maquette phase by taking a second vote. 

Seven artists received 3 or more votes: 

Hung Liu Ismael Frigerio 

Manuel Neri Cheri Raciti 

John Valadez Ellsworth Kelly 

Judy Pfaff 

Commissioner LaRocca moved to approve the selection of 7 
finalists (as listed above) to produce maquettes for the 
Moscone "Large Wall" and to authorize payment of a fee of 
$4000 per artist for completed maquette and proposal 
materials. Commissioner Mesa-Bains seconded. The ayes 
were unanimous. 

III. ARTS COMMISSION GALLERY: FESTIVAL 2000 

Jill Manton, representing the Gallery Director, Anne 
Meissner, presented slides and materials of Hung Liu and 
Yolanda Lopez and asked for approval of the artists for 
inclusion in Festival 2000. Yolanda Lopez had two ideas 
for an installation, one dealing with her son's life, and 
the other with the idea of El Camino Real. The Committee 



VAC-MIN8. l-90twm Page - 3 



agreed with Commissioner Mesa-Bains that the latter idea 
was more suited to the exhibition concept. Commissioner 
Mesa-Bains moved and Commissioner Boas seconded to approve 
the concept and art work of Yolanda Lopez and Hung Liu for 
the exhibition IMPLOSION during Festival 2000. The ayes 
were unanimous. 

REPORTS AND ORDERS 

1. Ordered: Motion to approve the extension of the 

Fabrication Contract for Steve Gillman to 

October 3 1 . 

Motion: Anne Healy 

Vote: Unanimous 

2. Ordered: Motion to authorize the Director to enter 

into contract with Steve Gillman for the 

Transportation and Installation of the 

artwork . 

Motion: Anne Healy 

Vote: Unanimous 



3. Ordered: Motion to approve the selection of 

Ellsworth Kelly, Hung Liu, Ismael Frigerio, 
Judy Pfaff, John Valadez, Cheri Raciti and 
Manuel Neri to produce maquettes for the 
Moscone Center "Large Wall" and to 
authorize the payment of $4,000 each for 
completed maquettes and proposal materials. 
Moved: Commissioner LaRocca 
Vote: Unanimous 

4. Ordered: Motion to approve the concepts and artwork 

of Hung Liu and Yolanda Lopez for inclusion 

in the exhibition IMPLOSION for Festival 

2000. 

Moved: Amalia Mesa-Bains 

Vote: Unanimous 



There being no further business, the meeting was adjourned 
at 5:50 pm. 



Siiftmitted , 




fonia Macneil 
Curator, Public Art Program 



VAC-MIN8. l-90twm 



Page - 4 



City and County of San Francisco 




Memorandum 



Art Commission 

Claire N. Isaacs 
DIRECTOR 



Date: 
To: 
From: 
Subject: 



August 6, 1990 

Anne Healy, Chair, Visual Arts Committee 

Tonia Macneil 

Visual Arts Committee Report 



These items were approved following the publication of the Arts Commission 
Meeting agenda and require approval by the Full Commission. Please ask 
for approval during the Visual Arts Committee report. Thank You. 



1. Motion to extend the Fabrication Contract for Steve Gillman until 
October 31, 1990. 

2. Motion to authorize the Director to enter into contract with Steve 
Gillman for Transportation and Installation of Artwork for Pier 7 
contingent upon completion of fabrication detail work.* 

3. Motion to approve the selection of artists 

Ismael Frigerio Cheri Raciti 

Hung Liu Judy Pfaff 

Ellsworth Kelly John Valadez 
Manuel Neri 

to produce maquettes for the Moscone Center "Large Wall" and to authorize 
the payment of $4,000 each for completed maquettes and proposal materials. 



*For the record, the detail work to be completed by Steve Gillman 



1. File edges of grillwork 

2. Patch holes in granite 

3. Trim all vertical faces 




4. Complete splitting of diagonal 
faces to form continuous edge 

5. Clean and seal granite 



(415)554-9671 



25 VAN NESS AVE. SUITE 240 



SAN FRANCISCO. 94102 



City and County 
ot San Francisco 



SPECIAL JOINT MEETING MINUTES 

CIVIC DESIGN REVIEW COMMITTEE 

VISUAL ARTS COMMITTEE 

AUGUST 6, 1990 

25 Van Ness Avenue 

Suite 240 . .. . _ , . 

san Francisco. ca 94102 A special joint meeting of the Civic Design Review 
(415)554-9671 Committee and the Visual Arts Committee was held on 

Monday, August 6, 1990 at 1:30 PM at 25 Van Ness Avenue, 

Suite 70. 




MAYOR 
Art Agnos 



The meeting began as information only at 1:55 PM. 

ROLL: COMMISSIONERS PRESENT COMMISSIONERS ABSENT 



COMMISSIONERS 

Barbara Sklar 
President 



Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Heaty 
John Krlken 
Robert F. LaRocca 
Amalla Mesa-Bains. Ph.D. 
T -imoto 
^^ ekrans 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Ubrary Commission, 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Collection 
CMc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
115-554-9682 



John Kriken - Chair CDR 
Anne Healy - Chair VAC 
Amalia Mesa-Bains 
Robert LaRocca 
Nancy Boas 



Rai Okamoto 



STAFF PRESENT: 



Dennis Rumsey 
Debra Lehane 
Jill Manton 



I. PIONEER MONUMENT 

Shortly after the start of the information presentation 
for Commissioner Kriken by Debra Lehane, Commissioners 
LaRocca and Boas arrived. 



Debra Lehane identified the p 
Before the Arts Commission ca 
to the relocation of the Pion 
the Library Commission, the E 
(EIR) must be completed. The 
impact of any sites which are 
future site for the monument, 
convened to identify proposed 
would be forwarded to the Pla 
Mayor's office for inclusion 



urpose of the joint meeting. 
n give serious consideration 
eer Monument as requested by 
nvironmental Impact Report 
EIR must also address the 
considered for a possible 

The Joint committee was 
sites for the monument which 
nning Commission through the 
in the EIR. 




Commissioner Kriken identified the first site as a 
location within the United Nations Plaza on the Market 
Street end. The existing fountain and the Muni/Bart 
underground were identified as two possible problems. 
This site allows the monument to remain on Market with the 
already existing Victorian monuments which are located in 
different locations along Market Street. 

The next site identified was within the proposed Fulton 
( cont ) 



PAGE - 1 



SPECIAL JOINT MEETING MINUTES/August 6, 1990 

I. PIONEER MONUMENT (CONT) 

Street Mall between the Asian Art Museum and the New 
Library. Specifically, the western half of the mall 
toward Larkin Street. 

Commissioner Boas identified two sites discussed at 
previous meetings. One being the southeast corner of 
Fulton and Larkin. This site would be considered if the 
Fulton Street Mall is not approved. The other site being 
an area of the Civic Center Plaza across from and 
centered on the entrance to the Civic auditorium. 

A motion which urges the Mayor to urge City Planning to 
include the site in their Environmental Impact Report was 
made by Commissioner Healy and seconded by Commissioner 
Mesa-Bains. It passed unanimously. 

II. FULTON STREET MALL GUIDELINES 

Chief Administrative Officer Rudy Nothenberg had forwarded 
to the Arts Commission for comment Urban Design Guidelines 
for the Proposed Fulton Mall . The Commissioners felt that 
the Fulton Street mall will complete an important design 
element of the Civic Center Plan and sited the AIA Study 
of the Civic Center and the Planning Commission's document 
of 1987 which both recommend this mall design concept. 

Commissioner Boas addressed questions to City Architect 
Norman Karasick and City Planner Calvin Malone concerning 
the Brooks Hall ramp. The ramp serve an important 
utilitarian function to Brooks Hall and will serve the 
future library as well. 

Commissioner Kriken requested that wording be added to the 
guidelines in regard to the ramp and any additional ramps. 
He advised that the nature of the edge treatment along the 
ramp should be incorporated into the landscape podium of 
the library. The ramp should be part of the base of the 
building with the landscape designed to diminish the 
visual impact of the utilitarian use of the ramp. 

The Commissioners also wanted language added that provided 
for following the Civic Center Master Plan in the addition 
and/or placement of monuments and statuary in the mall. 

A motion to endorse the Urban Design Guidelines with the 
addition of the commissioner's comments was made by 
Commissioner Healy, seconded by Commissioner Mesa-Bains 
and unanimously passed. 

At this time the public was invited to testify or comment. 
There was no comment from the public. (cont) 



PAGE 



SPECIAL JOINT MEETING MINUTES/August 6, 1990 
III. Embarcadero Design Criteria 

Jill Manton explained the composition and process for the 
Embarcadero Design Team and her role at the meetings. 
Concern was expressed by the commissioners in how the 
information was being assembled in a piecemeal fashion 
with no overview of the design as a whole. Commissioner 
Kriken asked Ms. Manton to write a letter officially 
requesting the Embarcadero Design Team to make a 
presentation to the Civic Design Review Committee and to 
schedule a special meeting as soon as possible. 

There being no further business, the meeting was adjourned 
at 3:10 PM. 

REPORTS AND ORDERS: 



1. Motion to urge the Mayor to urge City Planning to 
include in the Environmental Impact Report for the New 
Library Building investigation of four proposed sites for 
the relocation of the Pioneer Monument as listed in 
preference order: 1. United Nations Plaza on the Market 
Street side; 2. the western half of the proposed Fulton 
Street Mall; 3. the south east corner of Fulton and 
Larkin; 4. the Civic Center Plaza centered on the 
entrance to the Civic Auditorium. 

Motion: Anne Healy 
Consensus: Unanimous 

2. Motion to endorse the Urban Design Guidelines for the 
Proposed Fulton Street Mall with the request to add 
language concerning the visual treatment of the ramps on 
the street level and adherence to the Civic Center Master 
Plan in the placement or addition of monuments or statues. 
Motion: Anne Healy 

Consensus: Unanimous 

Submi tted , 

Debra Lehane 
Collections Manager 

8/8/90 



PAGE - 3 



'W^l 




CO 



m 



3 
4- 



City and County 
of San Francisco 




25 Van Ness Avenue 

Suite 240 

San Francisco, CA 94102 

(415)554-9671 



SAN FRANCISCO ARTS COMMISSION 

SPECIAL JOINT MEETING 

CIVIC DESIGN REVIEW COMMITTEE 

VISUAL ARTS COMMITTEE 

Monday, August 6, 1990 at 1:30 PM 

25 Van Ness Avenue, Suite 70 

San Francisco, California 



MAYOR 
ArtAgnos 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 



Vernon Alley 

Stanley Elchelbaum 

Kim Fowter 

Daniel Genera 

Anne Heaty 

John Krlken 

Robert F. LaRocca 
Ar Amalla Mesa-Bains. Ph.D 
^' ■ ' v ^'"imoto 
^^^ ekrans 



AGENDA 

I. PIONEER MONUMENT 

Review and selection of possible sites to be reviewed 
by the Environmental Impact Report 

II. FULTON STREET MALL 

Review and comment on guidelines for the proposed 
Fulton Street Mall 

III. EMBARCADERO TRANSPORTATION PROJECTS 
Discussion of design criteria 
(if time allows) 



ADJOURNMENT 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission, 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Collection 
CMc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
415-554-9682 




SJCM86.WPS 



8/1/90 




VISUAL ARTS COMMITTEE MEETING 



25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



WEDNESDAY, AUGUST 15, 1990 

The Regular Meeting of the Visual Arts Committee will be 
held on Wednesday, August 15, 1990 in the Arts Commission 
Conference Room, Suite 70, at 25 Van Ness Avenue. The 
meeting will take place at 3:00 PM . 



MAYOR 
Art Agnos 



AGENDA 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Kriken 
Robert F. LaRocca 
Am alio Mesa-Bains. Ph.D. 
^^L_ i x>to 



ARTS ENRICHMENT: 



BUSH-POLK PARKING GARAGE 



Presentation of maquettes by the five finalists for 
grillwork on Bush-Polk Parking Garage. (Kevin Hagerty, 
Assistant Director, Parking Authority, members of Gordon 
Chong and Associates, Tonia Macneil) 

II. MURAL RESOURCE CENTER: DESIGN APPROVAL 

Five minute presentations of designs and concepts for 

murals by: 

Susan Greene and students for Marshall School 

Susan Cervantes for Balmy Alley 

(Conrad Okamoto, Tonia Macneil) 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Ubrary Commission. 
Planning Commission, 
Recreation and Park 
Commesion 



III. SAN FRANCISCO CONSERVATION CORPS: MURAL APPROVAL 

Five minute presentation of design and concept for mural 
by students of S.F.C.C. Youth Summer Program for buildim 
at 19th and Valencia facing Mission Park Playground. 
(McCrae Parker, Assistant Director and students, Tonia 
Macneil ) 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
Civic Art Collection 
CMC Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 

^^554-9682 




IV. ARTS COMMISSION GALLERY: FESTIVAL 2000 
Request for approval of concept and design for 
installation entitled WINDFLOWERS for City/Site during 
Festival 2000. (Slobodan Dan Paich, Kathleen Kolba) 

V. COLLECTIONS: AIRPORT COLLECTION 

Request to authorize staff to appropriately relocate 
artworks in United Hub lounge. ( Debra Lehane , Susan 
Pontious ) 

VI. COLLECTIONS: COIT TOWER MURALS 

Request to approve NEA grant application of 525,000 for 
restoration of second floor Coit Tower murals. (Debra 
Lehane ) 



VAC-AGN8. 15-90 



Page 



VII. ART ENRICHMENT: RICHMOND POLICE STATION 

Presentation of slides by selected candidates Mary 
Chomenko, Jaap Bongers and John Roloff for design of floor 
piece for the Station. Request to authorize award of 
$500.00 for design fee to the artists. (Jill Manton ) 

VI I I. ART ENRICHMENT: MOSCONE EXPANSION 

Discussion of maquette requirements for the "Large Wall." 
(Tonia Macneil) 

IX. ART ENRICHMENT: ORDINANCE REVISION 

Report on current plans and actions in relation to 
ordinance revision. (Jill Manton) 

X. ART ENRICHMENT: EMBARKADERO ART MASTER PLAN 

(Roger Barry, Jill Manton) 

XI. COLLECTIONS: GIFT POLICY 

Discussion and comments on draft of gift policy ( Debra 
Lehane ) 

NEW BUSINESS 

ADJOURNMENT 



VAC-AGN8. 15-90 Page - 2 



City and County 
of San Francisco 




VISUAL ARTS COMMITTEE MEETING 
MINUTES 



25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



AUGUST 15, 1990 

The regular monthly meeting of the Visual Arts Committee 
was held on Wednesday, August 15, 1990 at 3 pm in the Arts 
Commission Conference Room, Suite 70, at 25 Van Ness 
Avenue . 



MAYOR 
Art Agnos 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vernon AHey 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Arme Healy 
John Krlken 
P^ ert F. LaRocca 
■j^^ < i-Balns. Ph.D. 

Jodie Rosekrans 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



Commissioner Healy called the meeting to order at 3:20 pm. 



Roll: Commissioners Present 

Anne Healy - Chair 
Robert LaRocca 
Nancy Boas 

Staff Present: Tonia Macneil 
Jill Manton 
Debra Lehane 
Susan Pontious 



APPROVAL OF MINUTES 



Commissioners Absent 
Amalia Mesa-Bains 



for July 18, August 1 and 
August 6, 1990, Regular and 
Special Meetings. 



The minutes of the July 18, August 1 and August 6, 1990 
meetings were approved as read on a motion by Commissioner 
Boas. Commissioner LaRocca seconded. The vote was 
unan imous . 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMC Art Colecflon 
Civic Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



II 



ARTS ENRICHMENT: 



BUSH-POLK PARKING GARAGE 



Artists Suzanne Wibroe, Shannon Shanahan, Jean Louis 
Pierson, Bruce Hasson, and Nandi Devam representing Noel 
Neri, presented their proposals for art enrichment for 
Bush-Polk Parking Garage to the Selection Panel composed 
of the Visual Arts Committee, Kevin Hagerty of the San 
Francisco Parking Authority and representatives of Gordon 
Chong and Associates. Following questions and discussion, 
the Committee agreed to make the selection of the finalist 
at a continuation of the regular meeting of the Visual 
Arts Committee to August 20, 1990 at 2 pm . 



Arts Commission Gallery 
pve Street 




VAC-M1N8. 15-90twm 



Page - 1 



III. MURAL RESOURCE CENTER: DESIGN APPROVAL 

Susan Cervantes, Director of the Precita Eyes Muralists, 
introduced Susan Green, who presented the design for a 
mural at Marshall School at 15th and Mission. The theme 
of the mural is "My Favorite Pets". The mural will be 
painted on a wall 6' x 67' by students with the aid of the 
artists and student apprentices. 

Commissioner Healy moved to approve the mural concept and 
design by Susan Green at Marshall School. Commissioner 
LaRocca seconded. The ayes were unanimous. 

IV. MURAL RESOURCE CENTER: DESIGN APPROVAL 

Conrad Okamoto announced that Susan Cervantes had received 
an award from the Mayor's Office of Community Development 
in recognition for her efforts in the mural movement. 
Susan presented her design for a mural on garage doors on 
Balmy Alley. The mural will be complete in time for the 
re-dedication of Balmy Alley in early November. 
Commissioner LaRocca moved approval of the mural design 
and concept and Commissioner Healy seconded. The ayes 
were unanimous. 

V. MURAL APPROVAL: SAN FRANCISCO CONSERVATION CORPS 

San Francisco Conservation Corps members presented the 
mural which they had designed and painted with the help of 
artists Susan Cervantes and Kim Anno. The presenters 
were: J. C. Smith, Catherine Versosa, Kysha Wallace, Alan 
Xu , Richard Chau , Derria Hogg, Deva Gautrey and Ruben 
Zaragoza. The mural depicts various images of the planet, 
moving from a polluted, dying environment to a healthy, 
balanced world, with members of the corps shown working to 
create the change. Letters from neighbors and quotes from 
passersby praising the project were read to the Committee. 
Commissioner Healy commended the corpmembers for their 
presentation, hard work, public spirit and art ability. 
She moved that the Committee approve the design and 
painting of the mural at its present location and 
expressed the hope that il remain for a long time, 
commissioner LaRocca seconded. The ayes were unanimous. 



VAC-MIN8. 15-90twm Page - 2 



VI. ARTS COMMISSION GALLERY: FESTIVAL 2000 

Artist Slobodan Dan Paich presented his proposal for 
WINDFLOWERS, an environment to be created at City/Site 
during Festival 2000. The design incorporates the 
elements of ladders and paper windmills and will be both a 
performance environment and visual experience. During the 
time of the installation, there will be 4 or more 
performances on Saturdays including a steel pan band. The 
public will not be allowed onto the site, but will see 
remnants of the performances left as ceremonial objects 
around the grounds. Commissioner Boas expressed her 
concern for the safety of performers, and was assured that 
no one would attempt to climb the ladders. Commissioner 
LaRocca moved to approve the proposal , and Commissioner 
Boas seconded. The ayes were unanimous. 

VII. COLLECTIONS: AIRPORT COLLECTION 

Debra Lehane and Susan Pontious explained the need to 
relocate the artwork at the United Hub Lounge and their 
plans to arrange for new sites or storage for the work. 
Commissioner Boas moved to authorize the staff to 
appropriately relocate artworks from the United Hub 
Lounge. Commissioner Healy seconded. The ayes were 
unanimous . 

VIII .COLLECTIONS: COIT TOWER MURALS 

Debra Lehane asked the Committee to approve application 
for an NEA grant of $25,000 for restoration of the second 
floor Coit Tower murals. Commissioner LaRocca moved to 
approve and Commissioner Boas seconded. The ayes were 
unan imous . 

Commissioner LaRocca was excused from the meeting at 4:45. 
The Regular Meeting was continued until August 20 at 2 pm 
due to the lack of a quorum, however Commissioners Healy 
and Boas remained for informal discussion of items IX, X 
and XI . 

IX. ARTS COMMISSION GALLKRY: PROPOSAL APPROVAL 

Kathleen Kolba and Glen Ilelfand from the Gallery asked the 
Committee to approve the concept of a Preservation of 
Expression Time Capsule to be intered outside the Gallery 
for 5 years in solidarity with groups around the country. 



VAC-MIN8. lf)-90twm Page - 3 



There will be an open call for materials to fill the box, 
which will be buried during a ceremony in the first week 
of September. Commissioner Healy asked that the 
coordinators identify the exact location of the burial and 
the source of funding before returning to the Committee 
for final approval. 

X. ART ENRICHMENT: RICHMOND POLICE STATION 

Jill Manton presented slides and proposals of Mary 
Chomenko and Jaap Bongers as candidates for the design of 
a floor piece in the Richmond Police Station. Peter Wong, 
project architect, was present to explain the building 
plans and the current status of the project. The budget 
for the project is $14,000, and the area under 
consideration is a 4 ' x 4' space just inside the main 
entrance. A discussion ensued as to the best use of the 
funds and possible alternative sites. The Commissioners 
expressed considerable interest in the artists working 
with a larger 6' x 6' floor space in an interior lobby 
area. Both Commissioners present agreed to award both 
artist candidates a fee of $500.00 for a design proposal 
pending approval by the other members of the Visual Arts 
Committee . 

XI. ART ENRICHMENT: EMBARCADERO ART MASTER PLAN 

Roger Berry presented the Embarcadero Art Master Plan in 
its current status. He asked the Commissioners to comment 
and add their concerns about the project. The Master Plan 
will define where and how the Arts Commission and other 
agencies might involve artists in the Embarcadero area. 
Mr. Berry defined the pedestrian areas as the most 
significant art opportunities. He stated that the history 
of the area will provide an important conceptual base for 
artists, and that he would recommend establishing a team 
including an historian, a vi sual /graphic artist and a word 
artist to help viewers visualize what the past was like, 
commissioner Boas urged that the new plan retain the old- 
fashioned, unreconstructed parts of the City, including 
the architecture of the 20's, 30's and 40's, as well as 
the historic and modern elements. Mr. Berry identified a 
number of major potential sites for art work within the 
plan, but stated that the major opportunity was for the 
interstices between buildings, where people would become 
aware of the water. As the obvious points of rest along 
the promenade, each of these areas could be a unique 
event, and the Arts Commission should work to see that the 



VAC-M1N8. 1 5-901 win Page 



necessary fudnding and planning elements are in place to 
allow this to happen. Commissioner Healy noted that the 
sense of space and openness in these areas should be 
maintained, rather than filling the space. She suggested 
that those areas be considered as a single project, 
perhaps handled by a design team. No decisions or actions 
were taken. 

The Discussion concluded at 7:00 pm. 



The Regular Meeting was reconvened on Monday, August 20, 
1990 in the Arts Commission Conference Room, Suite 70, at 
25 Van Ness Avenue. 

Commissioners Present: Anne Healy, Chair 

Robert LaRocca 
Nancy Boas 

Commissioner Mesa-Bains arrived at 2:45 pm. 

Commissioner Healy called the meeting to order at 2:15 pm. 

XI 1 1. ART ENRICHMENT: BUSH-POLK PARKING GARAGE 

The Selection Panel discussed the selection of an artist 
for Bush-Polk Parking Garage, each member presenting their 
choices and giving reasons for their decision. The 
panelists uniformly praised the artists for their 
proposals and presentations. The unanimous decision of 
the Panel was for the concept and design of artist Bruce 
Hasson. Commissioner Healy moved to approve the selection 
of Bruce Hasson to produce art work for the Bush-Polk 
Parking Garage and to authorize the Director to enter into 
contract with him for an amount not to exceed $60,000. 
Commissioner LaRocca seconded. The ayes were unanimous. 

XIV. ARTS COMMISSION GALLERY: PROPOSAL APPROVAL 

The Committee reviewed the Preservation of Expression 
proposal and were satisfied that their concerns were 
addressed. Artist Michael Brown exhibited the actual 
capsule, a box of wood and copper. Commissioner Healy 
moved to approve the proposal to inter the capsule at 
City/Site on September 9, 1990. Commissioner LaRocca 
seconded. The ayes were unanimous. 



VAC-MIN8 . 1 5-901 win I'age 



XV. ART ENRICHMENT: MOSCONE EXPANSION 

Tonia Macneil presented a rough draft of a prospectus to 
be sent to the 7 finalists for Moscone Art Enrichment. 
She also informed the Commissioners that Manuel Neri had 
concerns about the scope of the project and his ability to 
be involved in it. The Commissioners urged staff to make 
the project parameters as flexible as possible to enable 
Mr. Neri to participate. 

XVI. ART ENRICHMENT: AIRPORT EXPANSION 

Susan Pontious reported that she had met with Jason Leung 
and had had preliminary discussions regarding the airport 
expansion. Leung had estimated that the art enrichment 
budget would be approximately 20 million dollars. 
Pontious suggested that the Public Art Program should 
undertake a masterplan for the art enrichment that would 
allow the development of a program that would be 
responsive to an ever-changing environment. She also 
suggested that the plan look at both art enrichment and 
the airport exhibitons program as there may be areas where 
the two programs can cooperate to mutual benefit. Within 
a year the Airport will be hiring an architect and 
construction will be complete in 5 years. Pontious said 
that the changes being proposed in the art enrichment 
ordinance would allow for flexible programming at the 
airport, including temporal, non-static presentations. 
Commissioner Mesa-Bains recommended that the airport 
exhibitions staff be included in any initial discussions 
about the master plan. Commissioner Healy said that there 
was definitely interest on the part of the Committee 
regarding a master plan. 

The meeting was adjourned at 3:05 pm . 



REPORTS AND ORDERS: 



1. Ordered: Motion to approve design of mural by Susan 
Green for Marshall School at 15th and 
Mission Streets. 
Moved: Anne Healy 
Vote: Unanimous 



VAC-MIN8. 15-90 twm Page - 6 



2. Ordered: Motion to approve design of mural by Susan 

Cervantes for Balmy Alley. 
Moved: Robert LaRocca 
Vote: Unanimous 

3. Ordered: Motion to approve mural designed with the 

help of Susan Cervantes and Kim Anno and 
painted by members of the San Francisco 
Conservation Corps and to allow the mural 
to remain at its present location. 
Moved: Anne Mealy 
Vote: Unanimous 

4. Ordered: Motion to approve the proposal of artist 

Slobodan Dan Paich for installation 

entitled WJNDFLOWERS at City/Site during 

Festival 2000. 

Moved: Robert LaRocca 

Vote: Unanimous 

5. Ordered: Motion to authorize staff to appropriately 

relocate artworks for United Hub Lounge at 
San Francisco International Airport. 
Moved: Nancy Boas 
Vote: Unanimous 

6. Ordered: Motion to approve NEA grant application of 

$25,000 for restoration of second floor of 
Coit Tower Murals 
Moved: Robert LaRocca 
Vote: Unanimous 

7. Ordered: Motion to approve selection of artist Bruce 

Hasson to produce artwork for Bush-Polk 
Parking Garage and to authorize the 
Director of the Arts Commission to enter 
into contract with him for an amount not to 
exceed $60,000. 
Moved: Anne Mealy 
Vote: Unanimous 

8. Ordered: Motion to approve Arts Commission Gallery 

proposal for internment of Preservation of 
Expression Time Capsule at City/Site on 
September 9, 1990. 
Moved: Anne Healy 
Vote: Unanimous 



VAC-MIN8. 15-90twm Page 



There being no further business, the meeting was adjourned 
at 5:35 pm . 



Subfi/i tted , 




nutiu (MMa 





Tonia Macneil 

Curator, Public Art Program 



8/28/90 



VAC-MIN8. 1 5-90 t wm 



Page - 8 



Proposal Title: Preservation of Expression/Time Capsule 

Date: 

Friday, September 7, 1990, 6:30 pm 
(burial until 1995) 

Contact/Sponsors: 

Glen Helfand, member of advisory board, SF Arts Commission Gallery (621-4318) 

Michael Lumpkin, Tom Di Maria (respectively) program director, executive 

director, Frameline (861-5245) 

Peter Edlund, artist, (621-4304) 

Chris Robbins, video artist/educator (648-0369) 

Proposal 

As an act of protest and preservation of the currently imperiled notion of 
freedom of expression, we propose to bury a time capsule filled with actual 
artworks or the documentation thereof on the grounds of the San Francisco Arts 
Commission Gallery. The interned artworks will be by local artists who are 
alarmed by the current artistic issues raised by the NEA controversy. Our action, 
along with similar events in New York and Los Angeles, will coincide with 
Congress' decision on this matter. 

The burial ceremony will follow a peaceful procession of artists, arts 
administrators and supporters around the Civic Center arts establishments 
(Symphony, Opera, etc) on Friday, September 7 at 6:30 pm and will include 
speeches drawing attention to the issues of "censorship." The actual burial could 
take place either in the Exploration City Site lot, or beneath a section of the 
sidewalk in front of the Arts Commission Gallery demarcated by an explanatory 
plaque. (The latter location would require Department of Water and Power 
approval as soon as possible.) We would like to unearth the capsule, which will 
be designed and fabricated by artist Michael Brown, with a similar ceremony in 
1995, though this time-span is flexible. This action will symbolically entrust to the 
City of San Francisco (and the SF Arts Commission) the inalienable right to 
freedom of expression. This is a prime opportunity for the City to publically 
voice its support of the arts. 

In the event that non-restrictive legislation for the NEA is passed, our proposed 
action will not be necessary as such, and a more celebrative event will take its 
place. Your prompt attention to this proposal, however, will be necessary to 
facilitate the organization of this important and visible action. 

Budget: We are prepared to undertake the expenses that this project will incur. 

Please let us know if you need any other information. 



August 30, 1990 



TO: Tonia Macnei 1 
FROM: Debra Lehane 

RE: Corrections to August 15th Visual Arts Committee Min. 

Please note the following corrections: 

Jason YUEN is our contact at the airport. His name was 
misspel led . 

On the Collections items: 

VII. Airport Collection 

A second motion was not included. 

Motion to approve the extended loan of the Mark Adams 
Tapestries to the Fine Arts Museum until a new location in 
the future "Central Terminal" at the San Francisco 
International Airport is completed. 

VIII. Coit Tower Murals 

It should be noted that approval was also given to approach 
the Fleishhacker Foundation for Coit Tower. 

Tonia: Some bad news. I tried to listen to the tape to 
confirm that I had brought these items to the committee. 
The meeting is recorded up to the Bush/Polk presentations 
when the group adjourned to the smaller room. The rest of 
the tape is blank until it is turned over to side two. 
Unfortunately, side two is Jill discussing the Richmond 
Police Station which came after my items. 



City and County of San Francisco 




Memorandum 



Art Commission 

Claire N. Isaacs 
DIRECTOR 



Date: September 12, 1990 

To: Anne Healy 

From: Tonia Macneil 

Subject: September 19 Agenda 



Enclosed is a draft copy of the upcoming agenda for your comment. Germaine 
will be taking the draft prospectus to Rudy for his review before the meeting 
however I would like to send out the draft in it s present form for other 
Commissioners to review in advance of the meeting so that we may deal with 
the issue quickly and efficiently. Rudy may need a little nudge to buy the 
environmental treatment, as he has in the past voiced his opposition to that 
concept. He envisions a single "signature" sculpture in the area which would 
disappear in that concrete and asphalt desert. Perhaps a phone call from you 
before the meeting on the 19th would be useful. 

There are several compelling reasons for bringing in a guest curator, in 
particular one who is very familiar with the project. It turns out that Helene 
Fried would bridge several gaps in our involvement with the site. She is 
familiar to Rudy and would add to our credibility by her presence. It turns 
out that three of the sidewalks on Howard Street are under the jurisdiction 
of Olympia and York and MGA/Associates and the Redevelopment Agency. Helene 
has worked with the Redevelopment Agency in the past and is currently 
involved with Olympia and York. She would be a liason with those groups and 
make it possible to coordinate treatment of those areas with our plans. 
Germaine is very positive about the idea of bringing Helene into the selection 
process and thinks it would go well with Rudy to do so. 

I have included guesses as to the time allotment for each item on the agenda. 
I expect to mail the agenda on Wednesday, following discussion with you. 




(415) 554-9671 



25 VAN NESS AVE. SUITE 240 



SAN FRANCISCO, 94102 




VISUAL ARTS COMMITTEE MEETING 

,,.. u . WEDNESDAY, SEPTEMBER 19, 1990 

25 van Ness Avenue 
Suite 240 

^5)554Wi' CA ""° 2 The Re g ular Meeting of the Visual Arts Committee will be 

held on Wednesday, September 19, 1990 in the Arts Commission 



Conference Room, Suite 70, at 25 Van Ness Avenue, 
meeting will take place at 3:00 PM . 



The 



MAYOR 
Art Agnos 



APPROVAL OF MINUTES 



AGENDA 

August 15, 1990 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
vice President 

Vernon Aley 
Stanley Elchelboum 
KlmFowter 
Daniel Genera 
AmeHeaty 
John Krlken 
Robert F. LaRocca 
Amalta Mesa Bairn, Ph.D. 
^j[Y. Okamoto 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commrsston 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Colectlon 
CMc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sole-Local Partnership 

415-554 -9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
415-554-9682 



CONSENT CALENDAR 

II. COLLECTIONS: FINAL PAYMENT 

Request to approve the final payment of $500.00 to Jim 
Bernstein upon submittal and acceptance of San Francisco 
International Airport Permanent Art Collection Conservation 
Survey. ( Debra Lehane ) 

III. PUBLIC ART: PROGRESS PAYMENT 

Progress payment authorization to the Exploratorium for San 
Bruno Art Enrichment. 5% withheld for final payment. (Jill 
Manton ) 

IV. PUBLIC ART: FINAL PAYMENT 

Request for approval of final payment on the Fabrication 
Contract for Pier 7 Art Enrichment. (Tonia Macneil ) 

OLD BUSINESS 

V. PUBLIC ART: MOSCONE CONVENTION CENTER 

Progress Report in Moscone Large Wall, coordination of 
schedules for walk through of Moscone sites. Presentation 
of guidelines for Moscone Exterior, review of successful 
projects treating street environments. (Germaine Wong, CAO's 
Office, Tonia Macneil) 

VI. ARTS COMMISSION GALLERY: GALLERY PROCEDURE 

Request for a special meeting to review gallery procedures 
vis-a-vis the Visual Arts Committee. (Anne Meissner) 

VII. PUBLIC ART: NEW LIBRARY ART ENRICHMENT 

Progress Report (Jill Manton) 

VIII. PUBLIC ART: SHERIFF'S FACILITY 

Approval of Design Development Phase; approval to proceed 
with working drawings and final design development. 
(Vicki Scuri, Carl Cheng, Doug Hollis, Susan Pontious) 




VAC-AGN9. 19.90-twm 



Page 



IX. PUBLIC ART: AIRPORT: NEW INTERNATIONAL TERMINAL 
Review of proposal outline for proceeding with Art 
Enrichment Master Plan. (Susan Pontious) 

X. PUBLIC ART: KEZAR STADIUM 

Progress report on the bonding/contractual process. (Susan 
Pontious ) 

XI. PUBLIC ART: SAN ANDREAS WATER TREATMENT PLANT 
Review of preliminary design concepts being developed by Tim 
Collins and Reiko Goto. (Tonia Macneil) 

XII. PUBLIC ART: EMBARCADERO ARTS MASTER PLAN 

Request for authorization to apply for an NEA grant for the 
implementation of the Embarcadero Arts Master Plan. (Jill 
Manton ) 

XIII. PUBLIC ART: ART ENRICHMENT ORDINANCE 
Progress report on status of ordinance revision (Jill 
Manton ) 

NEW BUSINESS 

XIV. PROJECT REVIEW: 500 BLOCK OF COMMERCIAL STREET 
Review of Proposal by Joan Brown for installation of art 
work entitled "Ohlone Sculpture." (Steven Vettel , Tonia 
Macnei ) . 



ADJOURNMENT 



VAC-AGN9. 19.90-twm Page 



City and Ccjnty 
of San Francisco 




25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94)02 

(415)554-9671 



VISUAL AIM'S COMMITTEE MEETING 



SEPTE MBER 19, 19 90 

The regular month Ly meeting of the Visual Arts Committee 
was held on Wednesday, September 19, 1990 at 3 pm in the 
Arts Commission Conference Room, Suite 70, at 25 Van Ness 
Avenue . 



MAYOR 
ArtAgnos 



Commissioner Healy called the meeting to order at 3:08 pm . 



COMMISSIONERS 

Barbara Sklar 
President 



Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Kriken 
Robert F. LaRocca 
Amalla Mesa-Bains. Ph.D. 
^^^Y. Okamoto 



Ro L 1 : Commissioners Present 

Anne Healy - Chair 

Robert LaRocca 

Nancy Boas 

Amalia Mesa-Bains 

Dodie Rosecrans (Visitor, non-voting) 

Staff Present: Tonia Macneil 
Jill Manton 
Debra Lehane 
Susan Ponfious 



EX OFFICIO MEMBERS 

Presidents ot the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



I. 



APPROVAL OK MINUTES of August 15, 1990 meeting 



The minutes of the August 15, 1990 meeting were approved 
as read on a motion by Commissioner Boas. Commissioner 
Mesa-Bains seconded. The ayes were unanimous. 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
Civic Art CoJectlon 
CMc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
415-554-9682 



NEW BUSINESS 




II . 

Stev 

235 

"Ohl 

bloc 

the 

tile 

firs 

long 

rese 

shnp 

Ohio 

the 



PROJECT 
en Vette 
Pine Ass 
one S c u 1 
k of Com 
proposed 

cone wi 
t reside 

stand i n 
arched I 
e is rem 
ne, acco 
appropri 



REVIEW 
1 and T 
oc i ates 
pture" 
mere ial 

sculpt 
th imag 
n t s , t h 
g inter 
lie ir hi 
iniscen 
rding t 
ateness 



amara 

to p 

in th 

Stre 

ure , 

ery a 

e Ohl 

est i 

story 

t of 

o the 

of t 



500 

Tho 
lace 
e pu 
et . 
w h i c: 
nd s 
one 
n t h 

and 
t he 

art 
he s 



BLOCK OF 
mas presen 

a Joan Br 
bl ic r i ght 

Ms. Tho ma 
h will be 
ymbols rel 
people . J 
e Ohlone, 

use of sy 
sweat hous 
ist. The 
ite and re 



COMMERCIAL STREET 
ted a proposal of 
own piece entitled 
of way of the 500 
s showed drawings of 
a 7 ' tall ceramic 
ating to the areas 
oan Brown has had a 
and has thoroughly 
mbol s . The cone 
es built by the 
Committee discussed 
quested that 



VAC-MIN9. 19-90-1 win 



Page - 1 



attention be paid to the placement the sculpture so that 
it should not appear overcrowded. Commissioner Boas moved 
to accept the proposal of Joan Brown for an art work in 
the 500 block of commercial Street. Commissioner Mesa- 
Bains seconded. Commissioner Heaiy abstained. There were 
3 ayes . 

CONSENT CALENDAR 

[II. COLLECTIONS: FINAL PAYMENT 

Request to approve the final payment of $500.00 to Jim 
Bernstein upon submittal and acceptance of San Francisco 
International Airport Permanent Art Collection 
Conservation Survey. 

IV. PUBLIC ART: PROGRESS PAYMENT 

Progress payment authorization to the Explorator ium for 
San Bruno Art Enrichment. 5% withheld for final payment. 

V. PUBLIC ART: PROGRESS PAYMENT 

Request for approval of final payment on the Fabrication 
Contract for Pier 7 Art Enrichment. 

The consent calendar was approved on a motion by 
Commissioner Boas and a second by Commissioner Mesa-Bains. 
The aves were unanimous. 



OLD BUSINESS 

VI. PUBLIC ART: AIRPORT: NEW INTERNATIONAL TERMINAL 
Susan Pontious asked the Committee to approve the program 
guidelines and a preliminary budget for Art Enrichment at 
the New International Terminal at the Airport. She 
explained that the architects will be hired by the airport 
to begin the master plan stage in January or February and 
that the Pub] Lc Art Program should have an approved draft 
outline of the art program and an artist on board by that 
t ime . 

The budget for Art Enrichment at the Airport will be about 
$20 million. Unt i I the bond issue is passed next year, 
the available funding is the $200,000 remaining in the art 
enrichment budget from the previous expansion. There is 
no restriction on the use of those funds within the 
Airport Art Enrichment Program. 



VAC-MIN9. 19-90-t wm Page - 2 



Susan explained that the reason for hiring an artist in 
t h<> master planning phase was to identify areas of 
opportunity for art works, and to look for innovative ways 
to use art in a fluctuating environment. A model for this 
process is the work Roger Berry is doing on the 
Embarcadero . It may also be useful to bring in other 
consultants to the project at this point to get expert 
advise and help in developing budgets, sequencing and 
administration of this massive project. 

It was suggested t ha t details of t lie program expenditures 
should be worked out in the future rather than at this 
time. Commissioner Healy moved to approve the $200,000 
budge I in princ ipal , with line Limes to be authorized at 
future meetings. Commissioner Mesa-Bains seconded. The 
Ayes were unanimous. 

Chairperson Healy appointed Commissioner LaRocca liason to 
the Airport Art Enrichment Committee. The Committee 
unanimously approved the appointment. In addition, the 
Chair asked that Commissioner Rosecrans be informed of all 
meetings and proceedings in relation to the project. 
Commissioner Healy moved and Commissioner Boas seconded to 
authorize the search for an artist for the master planning 
process. The ayes were unanimous. 

Commisioner Rosecrans departed at this time. 

VI 1. PUBLIC ART: MOSCONE CONVENTION CENTER 

Tonia Macneil asked the Committee to approve the Request 
For Qualifications for candidates to design a major 
environmental art work for Howard Street adjacent to the 
Moscone Center lobbies. The RFQ also serves as the 
guidelines for the project. There is an opportunity in 
the next few months to work with the Redevelopment Agency 
architects and artist on the surface design of a 26' x 40' 
wall next to Moscone II. The Committee agreed, however, 
that the treatment of the wall was a secondary opportunity 
rather than an obligation for the artist. Bill Carney of 
the Redevelopment Agency explained his agency's schedule 
and the possibilil ies for interaction. 

Commissioner Mesa-Rains described the concerns of the 
Verba Buena Cultural Center for a multi-cultural and 
family orient.at ion and asked that those concerns be 
addressed in this project as well. Commissioner Boas said 
thai the art work should be oriented to pedestrians as 
well as those in vehicles, and that the area would be used 



VAC-MIN9. 1 9-90-t wm 



mostly by adult conventioneers and tourists. Germaine 
Wong of the CAO ' s office reminded the Committee that any 
design must have the approval of the Traffic Department 
and programming staff of Moscone as well as any other 
agencies concerned with the site. 

Commissioner Healy suggested that a symposium be convened 
of all players in the Moscone area to review the 
architectural plans and to discuss programming, and it was 
determined that the Redevelopment Agency would be the 
proper host of such an event. Following a discussion 
concerning the process of selecting guest curators, it was 
determined that in future, staff would present a pool of 
candidates as well as staff recommendations to the 
Committee. Commissioner Healy moved that the Committee 
approve the Request for Qualifications and invite Helene 
Fried to be the guest curator on the project. 
Commissioner Mesa-Bains seconded. The ayes were 
unanimous. The first review of artists materials will be 
held on Monday, November 5th at 12 noon. Lunch will be 
served. Staff will present a selection of the invited 
artists to the Committee for their review. 

VIII. PUBLIC ART: NF.W SHERIFF'S FACILITY 
Susan Pontious presented the project architects and Vicki 
Scuri and explained that Civic Design has given Phase 11 
approval for the architectural plans. Each of the three 
artists proposals were described: 

Dovig Hollis has designed a ceramic frit treatment for the 
exterior curved s. I ass wall to create an undulating, "fog" 
effect, as well as metallic screening for the roof top 
mechanical units, which, when overlapped, will create a 
'moire' pattern above the roof line. 

Carl Cheng proposes sun- 1 i t atriums in the interior of the 
building for smal 1 -group and i nd i v idual use . The at ri urns 
will be lit by skylights controlled by a heliostat to 
maximize the amount of light entering the wells. Cheng 
also proposed inserting translucent but semi -opaque 
windows into the otherwise solid back wall to bring more 
light into the bu ilding . 

Vicki Scuri has designed a paving treatment for the lobby 
and exterior of the building, based on the pattern of the 
sheriff's star and acting as a series of tile 'throw rugs' 
to unify and define various areas of the building's 
Lnterior and exterior. A discussion followed concerning 



YAC-M1N9. 1 9-90- twin Page 



the limits of the tiJe area and various surface 
treatments. Susan explained to the Commissioners that 
while Scuri presented suggestions for the interior pod 
walls during the conceptual design phase, it was decided 
that her treatment was too expensive for the benefit 
gained. When asked if there would be other interior 
works, she replied that she hoped so; that the project was 
in Engineering cost analysis and when that was complete 
she would have a better idea what funds remain. However, 
the major interior statement would be the light wells. 

Commissioner Roas asked that Carl Cheng investigate the 
possibility of increasing the ability of inmates to see 
out of the building. Commissioner Healy moved to approve 
the Design Development 1'hase and to authorize proceeding 
with working drawings and final design development for the 
project. Commissioner LaRocca seconded. The ayes were 
unan Lmous . 

Commissioner LaRocca departed at 5:00 pm . 

IX. ARTS COMMISSION GALLERY: GALLERY PROCEDURE 

Jill Manton, acting for the Gallery Director, Anne 
Meissner, distributed material to the Committee, including 
a list of the members of the Gallery Advisory Committee, a 
list of objects interred in the "Time Capsule" and an 
article from the Examiner about the Capsule. A discussion 
followed concerning the makeup of the gallery committee 
and their role and commitment. It was felt that the 
Director should take a stronger curatorial role and that 
new goals and methods for the gallery should be defined. 
The questions to ask are: what is the goal of the 
Committee in relation to the Gallery? What should the 
relationship be? A larger issue to address is the 
question of autonomy vs. independence. There is a 
continuing problem of the short time-frame and 
insufficient materials presented to the Committee for 
their consideral ion. These questions should be addressed 
at a special meeting of the Visual Arts Committee which 
the Gallery Director should set up. 

X. PUBLIC ART: NEW LIBRARY ART ENRICHMENT 
Jill Manton gave a status report on the artists' 

Involvement with the new library, explaining that Nayland 
Blake and Al ice Aycock have met with architects James 
Freed and Cathy Simon. Anne Hamilton will meet with the 
architects soon, along with Anne Chamberlain, who will be 



VAC-MI N9 . 1 9-90-1 urn Page 



working with Anne Hamilton through a private arrangement 
between themselves. 

It has not been possible to communicate with Lothar 
Baumgarten directLy, instead one must speak to his dealer, 
Marian Goodman. It is important that a representative of 
the Public Art Program be a1 the next meeting with Lothar 
and the architects in New York on October 1 to ensure that 
the collaborative relationship which was originally 
intended for this project is carried out. The Committee 
agreed that if the artist is unable to participate in such 
a relationship, then he should be removed from that part 
of the project and be brought in if future funding is 
avai lab 1 e . 

Norm Karasick, City Architect, met with JiLl, informing 
her that the New Library is $10 to $20 million over 
budget. 2% of the budget has been allocated for art work, 
which amounts to about $1.8 million. Jill explained that 
the Art Commission cannot make a decision on cooperating 
with the library in resolving their budget problems until 
the artists have generated some ideas. 

A discussion was held on the issue of the murals currently 
hanging in the old library. The architects are 
tentatively interested in relocating the Panama Pacific 
murals but are not as interested in the Piatzone murals. 
The Committee asked staff to research what decisions or 
directives they had made on the subject in the past. 
Chairperson Mealy asked Commissioner Boas to work with 
Debra Lehane to develop a plan to relocate the murals and 
to make a presentation to the architect, James Freed, with 
appropriate documentation. 

XI. PUBLIC ART: KKZAR STADIUM 

Susan Pontious announced that the artist Allen Fleming has 
finally been able to get bonding to complete his project. 
The contract lias been divided into two parts, and the 
bonding company will issue two bonds for $34,000 each. 
Once I he first part i f, completed, the bonding company will 
be exonerated from that bond and only be responsible for 
t he second . 

Susan explained that this problem could be avoided in tin' 
future if I lie design phase of projects could be completed 
in I i me for I Ik 3 drawings do go out. with the bid package to 
the general contractor. Then the contractor could arrange 



VAC-MIN9. L 9-90-1 win 



bonding for the artist or other subs as part of the 
construct ion package. 

The design for the gates has been approved by a certified 
engineer, the locking mechanism has been approved by Jim 
Lucy and DPW has approved all of the calculations 
associated with the project, so the project is ready to 
go. However, so many months have been lost in getting 
bonding that fabrication will have to go like clockwork to 
be complete by the March deadline. 

A discussion followed concerning the ongoing problem of 
bonding for artist projects. Staff is still seeking 
creative solutions to this issue. 

XII. PUBLIC ART: SAN ANDREAS WATER TREATMENT PLANT 
Tonia Macneil gave a brief synopsis of the two major ideas 
being developed by artists Tim Collins and Reiko Goto for 
the San Andreas site. After four months of gathering 
information on this very complex project, the first idea 
is to produce a book similar to that created for the 
Headlands telling the story of the 19,000 acre San Andreas 
Watershed area which is a unique urban wilderness. The 
book would combine history of water treatment, natural 
history and current technology as seen through the eyes of 
the dedicated caretakers of the system. It would 
emphasize the uniqueness and delicate nature of the system 
and serve to justify the continued maintenance of the 
watershed as an inaccessible wilderness. 

The second idea, which was endorsed by the Committee, 
involves the use of water plants to create a complete 
natural water treatment system on the site, alluding to 
the riparian habitat of the Watershed from which we draw- 
water. The system would lie a complete loop, using the 
clean water to grow trees, fish and/or insects, and 
recycling the old water through cleansing plants such 
bullrushes and water- hyacinths. The artists would work 
with water system experts to create a functioning, low- 
maintenance environment with accompanying text and 
graphics as needed. 

XIII. PUBLIC ART: EMBARCADERO ARTS MASTER PLAN 
Jill Manton asked the Committee to authorize the staff to 
apply for an NEA grant to implement the Embarcadero Aii 
Master Plan developed by Roger Berry. She also reported 
on Roger's presentation to the Technical Advisory 
Committee for the Embarcadero, explaining that many 



VAC-M1N9. 19-90- I win Page 



members of the committee found the proposal vague and 
undefined because it lacked specific artists' proposals. 
She said that she would be attending another meeting of 
the Technical Advisory Committee to the project and urged 
members of the Committee to attend. Commissioner Boas 
moved to authorize the application for a grant, 
Commissioner Mealy seconded. The ayes were unanimous. 

XIV. PUBLIC ART: ART ENRICHMENT ORDINANCE 

Jil] Manton described the meeting of the Public Art staff 
with CaJ Malone, the Chair of the Capital Improvements 
\<h Lsory Committer, concerning the revision of the 
ordinance. She said his response was favorable, 
part Lcularly as lie believes that art should be integrated 
into the architecture and site. He felt that the scope of 
the capital improvements and the language about pooling of 
funds should be studied more closely, and that staff 
should have ample justification for the 20% administrative 
fee. Staff wi I J now be holding workshops and meeting with 
department heads to get their input. Susan Pontious has 
written a rational for tlip new ordinance which she will 
distribute. The ordinance will not be introduced to the 
Board of Supervisors until the new Executive Director has 
been h i red . 

Commissioner Mesa-Bains suggested that the Committee 
should hold a special meeting to discuss the ordinance 
when that is appropriate. 

XV. PUBLIC ART: MOSCONE CONVENTION CENTER (Continued) 
Tonia Macneil gave a brief presentation of public art 
projects in which artists had designed whole environments. 
She showed examples of urban environments in which paving, 
lighting, signage, planting and sculptural 

elements had been conceived of as an integrated whole, 
which is the concept the Committee has proposed for the 
exterior of Moscone Center. The Committee will forward 
their suggested candidates to staff. Commissioner llealy 
requested that staff contact landscape architects and 
architects as well as artists for this project. 

REPORTS AND ORDERS 

1. Ordered: Mot ion to accept the design and 

installation plans of Joan Brown for an 
artwork to be placed in the 500 block of 
Commercial Street. 
Moved: Nancy Boas 



VAC-MI Nil . 1 9-90-1 wm Page 



Vole: 



.i ayes, 1 abstention 



2. Ordered: Motion to approve the final payment of 

$500.00 to Jim Bernstein upon submittal and 
acceptance of San Francisco International 
Airport Permanent Art Collection 
Conservation Survey. 
Moved: Nancy Boas 
Vote : Unanimous 

3. Ordered: Motion to authorize progress payment to the 

Exploratorium for San Bruno Art Enrichment. 
5% to be wit held for final payment. 
Moved : Nancy Boas 
Vote: Unan imous 

•1 . Ordered: Motion to approve final payment to Steve 

Gillman on Fabrication Contract for Pier 7 
Art Enrichment. 
Moved: Nancy Boas 
Vote: Unanimous 

5. Ordered: Motion to approve $200,000 budget for 

master plan phase of the new International 
Terminal with line items to be authorized 
at future meetings. 
Moved: Anne Healy 
Vote: Unanimous 

6. Ordered: Motion to appoint Commissioner LaRocca as 

Airport liaison. 
Moved: Nancy Boas 
Vote: Unanimous 

7. Ordered: Motion to authorize the search for an 

artist to work of the master plan of the 
new International Terminal. 
Moved: Anne Healy 
Vote : Unan imous 

8. Ordered: Motion to accept the Request for 

Qualifications and to invite Helene Fried 
to be guest curator for the Moscone Center 
Outdoor project. 
Moved: Anne Healy 
Vote: Unanimous 



VAC-MIN9. 19-90-1 wm 



Page - 9 



9. Ordered: Motion to approve the Design Development 

Phase and to authorize proceeding with 
working drawings and final design 
development for the New Sheriff's Facility 
Ar t Enr i chment . 
Moved : Anne Healy 
Vo I e : Unanimous 

10. Ordered: Motion to authorize staff to apply for an 

NEA grant for the implementation of the 
Embarcadero Arts Master Plan 
Moved: Nancy Boas 
Vote: Unanimous 



There being no further business, the meeting was adjourned 
at 5:45 pra . 




r (JlWXj 



Tonia Macneil 

Curator, Public Art Program 



VAC-MIN9. 19-90-twm 



•age - 10 



LOS ANGELES 
ORANGE COUNTY 
WALNUT CREEK 
PALO ALTO 
DENVER 



Morrison & Foerster 

ATTORNEYS AT LAW 

345 CALIFORNIA STREET 

SAN FRANCISCO, CA 94104-2675 

TELEPHONE (415) 677-7000 

TELEFACSIMILE (415) 677-7522 

TELEX 34-0154 MRSN FOERS SFO 



NEW YORK 
WASHINGTON, DC. 
LONDON 
HONG KONG 
TOKYO 



August 28, 1990 



DIRECT DIAL NUMBER 

(415) 677-7119 



Ms. Tonia MacNeil 
San Francisco Arts Commission 
25 Van Ness Avenue, Suite 240 
San Francisco, California 94102 



Re: 



Commercial Street Open Space 
Joan Brown Ohlone Sculpture 



Dear Ms. MacNeil 



This letter will confirm that on September 19, 
1990, beginning at 3:00 p.m., the Visual Arts Committee of 
the Arts Commission will review the proposal of 235 Pine 
Associates to place a Joan Brown piece entitled "Ohlone 
Sculpture" in the public right of way of the 500 block of 
Commercial Street as part of its open space improvements to 
that block. Those improvements, including the placement of 
public art in the street, were required by the Planning 
Commission as a condition of approval for the 235 Pine 
Street office building now under construction. 

Enclosed for your information and for distribution 
to the members of the committee are copies of a description 
of the sculpture and Joan's inspiration for the images she 
will create, using a ceramic tile medium. We will be 
available to answer any other questions the committee may 
have on September 19. 

Please give me a call if you need any other 
information prior to September 19. 




Steven L. Vette 



SLV/sem 

cc: Karin Ringlien 
Andrew Butler 
Tamara Thomas 
George Williams 

E09328 [SLV1] 



London & Edinburgh Trust 



PUBLIC ART 

500 BLOCK OF COMMERCIAL STREET 



OHLONE SCULPTURE 



Location: 



Artist : 



On Commercial Street, NE corner of 
Commercial and Montgomery. 

Joan Brown 



Dimensions : 



Medium: 



Cone shape, approx. 3 
approx. 7' tall. 

Color ceramic tiles. 



diameter at base and 



Primary Images: 



Predominant 
Colors: 



Motif: 



Coyote, eagle and hummingbird; two solid- 
color horizontal bands each surround 
sculpture's bottom and top, and a checkered 
band runs vertically up along its side. 

Red background; orange/brown coyote; brown & 
white eagle; blue hummingbird; one each black 
and white horizontal band around the bottom 
base of the sculpture and again around its 
very top; and one vertical black-&-white 
checkered band running up along its side 
from bottom to top. 

Coyote, eagle and hummingbird represent the 
myth of creation of the Ohlone indians 
(this area's native Americans). The red 
field symbolizes sunset and sunrise which 
were very significant to the Indians. And 
black and white represents positive and 
negative or the opposite poles and were the 
colors the Ohlone Shamons used to paint 
themselves for ceremonies. 



Other: 



Sculpture incorporates a triangular bronze 
historical plague. 



Maguette 
and Sample 
Materials : 



At London & Edinburgh Trust, 



1 kr/July 18, 1990 

I California Street, Suite 1 100, San Francisco, California 94104 • Telephone: (415) 362-4488 • Facsimile: (415) 362-0754 
London Offict 243 Koifhubrida^ London SW7 lDHTel 01-581-1322 

Frjnkfun • Pjns . Hong Kong 



London & Edinburgh Trust 



Proposed Open Space Development by 235 Pine Associates 
500 Block of Commercial Street 
(Betw. Montgomery & Sansome) 



Ohlone Sculpture 

By Artist Joan Brown 

Maquette 2" = 1' 

All images, coyote, eagle and hummingbird are of ceramic 
tile, as well as red field and black and white borders. 
The plaque which the coyote is holding up can be made of 
brass or bronze. 



"I choose the images of the coyote, eagle and hummingbird as 
they represent the myth of creation of the Ohlone indians (as 
probably many other tribes as well). I choose the red as it 
symbolizes sunset and sunrise which was very important to the 
Indians, and black and white as it symbolizes positive and 
negative or the opposite poles (the Ohlone Shamons used to 
paint themselves black and white for ceremonies)." 

*** • Joan Brown 



kr 
7/16/90 



California Street, Suite 1100, San Francisco, California 94104 ■ Telephone: (415) $62 I1HH. Facsimile: (-1151 562-0754 
London Office 243 Knightsbridge, London SW7 IDHTel 01 SRI B22 
Frankfurt • Parii • Hong Kong 



JOAN BROWN 



Joan Brown is one of San Francisco's best known and most respected 
artists. During her 25 year career her work has been widely exhibi- 
ted locally and nationally and in many major museums including the 
Whitney Museum of American Art, N.Y., The Corcoran, Washington D.C. 
and, of course, The San Francisco Museum of Modern Art. Her work 
has been highly acclaimed by critics on both coasts and her years 
of teaching ( 1974-present , University of California, Berkeley) have 
made her a major influence on a new generation. She has received 
many prestigious awards including a Guggenheim Fellowship and two 
N.E.A. grants. 

Although her reputation was established as a painter, Joan Brown 
is dedicated to making art accessible to the larger public and has 
found that sculpture, particularly large scale commissioned work, 
is the best vehicle for accomplishing this. Like the sculpture 
she has created for Rincon Center, most of her three-dimensional 
works soar skyward, employing forms both structural and narrative 
from ancient cultures (of which she is an avid scholar) and making 
manifest her vision of the uplifting and regenerative powers of 
art. 

^ Brown's aspiration in her public work is nothing less than 
to close the gap between what is accepted by the elitist cogno- 
scenti as valid art and what is so perceived by the general public, 
returning art (and the artist) to the integral position in the 
community held in ancient times and the Renaissance. Lauded by 
art professionals for freshness and directness of vision and 
execution and enjoyed by the general public through its narrative 
content and joyous design, Joan Brown's art seems highly capable 
of this achievement. 

To quote Joan Brown "The ancient cultures as well as the prophets 
throughout the ages nave foretold that a Golden Age will recur. 
It will be a peaceful time when all creatures on earth will live 
in perfect harmony. We are now at the dawn of this Golden Age..." 
Under her spell, the lion will lie down with the lamb, the art 
critic with the businessman and Sunday shoppers. 



JOAN BROWN 

BORN: 

San Francisco, 1938 

EDUCATION: 

San Francisco Art Institute, BFA 1959; MFA 1960 

AWARDS: 

James D. Phelan Award, 1962 

Louis Comfort Tiffany Award, 1965 

Adeline Kent Award, 1973 

National Endowment for the Arts Grant, 1976, 1980 

Guggenheim Fellowship, 1977 

Honorary Doctor of Fine Arts, San Francisco Art Institute, 1986 

SELECTED SOLO EXHIBITIONS: 
Six Gallery, San Francisco, 1957 
Spatsa Gallery, San Francisco, 1959 
Batman Gallery, San Francisco, 1959, 1961 
Staemplli Gallery, New York, 1960, 1961, 1964* 
David Stuart Galleries, Los Angeles, 1961, 1962, 1964 
■ Hansen Fuller Gallery, San Francisco, 1968, 1970, 1976, 1978, 1979 
Lawson Gallery, San Francisco, 1968, 1970, 1976 
Sacramento State College Art Gallery, 1970 
San Francisco Museum of Modern Art, 1971' 
San Francisco Art Institute, 1973* 
University Art Museum, Berkeley, 1974', 1979 
Charles Campbell Gallery, San Francisco, 1974, 1975 

Allan Frumkin Gallery, New York, 1974*, 1976, 1979, 1981, 1982, 1984*, 1985, 1986 
Allan Frumkin Gallery, Chicago, 1975, 1977 
Re:Vision Gallery, Santa Monica, 1976 
Clark-Benton Gallery, Santa Fe, 1977 
Nelson Gallery, University of California, Davis, 1977 
Wadsworth Atheneum, Hartford, Connecticut, 1977 
Davis Gallery, University of Akron, Ohio, 1978' 
Fine Arts Center, University of Colorado, Boulder, 1978 
Newport Harbor Art Museum, Newport Beach, California, 1978' 
San Jose Museum of Art, California, 1979 
Whitman College, Walla Walla, 1980 
Occidental Center.Gallery, San Francisco, 1980 
Fountain Gallery, Portland, Oregon, 1980 
Hansen Fuller Goldeen Gallery, San Francisco, 1980, 1982 
University of Hawaii, Honolulu, 1981 
Koplin Gallery, Los Angeles, 1982, 1983, 1986 
Mills College, Oakland, California, 1983* 
Fuller Goldeen Gallery, 1983 



JOAN BROWN 
PUBLIC COLLECTIONS 



American Federation of the Arts, New York 

Albright-Knox Art Gallery, Buffalo 

Museum of Modern Art, New York 

University Art Museum, Berkeley 

Art Galleries, University of Colorado, Boulder 

Miami-Dade Community College, Florida 

Clark Art Institute, Williams College, Wiliiamstown, Massachusetts 

Whitney Museum of American Art, New York 

Hirshhorn Museum and Sculpture Garden, Washington, D.C. 

Oakland Museum, California 

Crocker Art Museum, Sacramento 

Los Angeles County Museum 

Newport Harbor Art Museum, Newport Beach, California 

San Francisco Museum of Modern Art 

Madison Art Center, Wisconsin 

Philadelphia Museum of Art 

Neuberger Museum, State University of New York, Purchase 

Lewis Collection, Virginia Museum of Art, Richmond 

Rene and Veronica diRosa Foundation, Napa 

Weatherspoon Art Gallery, University of North Carolina, Greensboro 

Contemporary Museum, Honolulu 



page 5 

Group Exhibitions (cortt.): 

"Art Is," Art Museum of Santa Cruz County, California, 1987* 

"6 Artists/6 Idioms," Blatter Gallery, University of Houston, 1988 

"Made In the Sixties: Paintings and Sculpture from the Permanent Collection of the Whitney 

Museum, " Whitney Museum of American Art, at Equitable, New York, 1988 
"Lost and Found in California: Four Decades of Assemblage Art," James Corcoran Gallery, Pence 

Gallery, Shoshana Wayne Gallery, Santa Monica, 1988* 
"Just Like A Woman," Greenville County Museum of Art, Greenville, South Carolina, 1988* 
"Large Paintings," Frumkin/Adams Gallery, New York, 1988 
"The Artists of California: A Group Portrait in Mixed Media," Oakland Museum; Crocker Art 

Museum, San Francisco; Laguna Art Museum, Laguna Beach, California, 1988* 
"Making Their Mark: Women Artists Move into the Mainstream, 1970-85," travelling museum 

exhibition organized by Randy Rosen Arts Associates, 1989* 



'catalogue 



> 

bv 



page 2 

One-Person Exhibitions (cont.): 

Frumkin & Struve Gallery, Chicago, 1984 

Creative Growth Gallery, Oakland, California, 1984 

Art Museum of Santa Cruz, 1984 

Monterey Peninsula Museum of Art, California, 1985 

Peppers Art Gallery, University of Redlands, California, 1985 

University Art Gallery, San Diego State, 1986 

Frumkin/Adams Gallery, New York, 1 988 

SELECTED GROUP EXHIBITIONS: 

"Annual Exhibition", Richmond Art Center, California, 1957, 1959, 1960 

"Annual Painting and Sculpture Exhibition," San Francisco Museum of Modern Art, 1957, 1958, 

1963 
"Young America, 1960," Whitney Museum, New York, 1960 
"Women in American Art," World House Galleries, New York, 1960 
"64th Annual Exhibition," Art Institute of Chicago, 1961 
"Contemporary American Painting and Sculpture," Krannert Art Museum, University of Illinois, 

Champaign, 1961, 1963, 1973, 1974 
"The Nude," California Palace of the Legion of Honor, San Francisco, 1962 
"Phelan Award Exhibition, "M.H. de Young Memorial Museum, San Francisco, 1963 
"Beal, Brown, Glavin, Henderson," Art Unlimited, San Francisco, 1963 

"Current Painting and Sculpture in the Bay Area," Stanford University Museum, Palo Alto, 1964 
"Seven California Painters," Staempfli Gallery, New York, 1964 
"Joan Brown/Manuel Neri," David Stuart Galleries, Los Angeles, 1964 
"Selections from the Work of California Artists," Witte Memorial Museum, San Antonio, 1965* 
"Portraits from the American Art World," New School Art Center, New York, 1965 
"Three California Painters: Elmer Bischoff, Joan Brown, David Park," Staempfli Gallery, New York, 

1966 
"Funk," University Art Museum, Berkeley, 1967* 

"Brown, Griffin, Hemingway, Tondre," Hansen Fuller Gallery, San Francisco, 1967 
"Painters Behind Painters," California Palace of the Legion of Honor, " 1967 
"Annual Invitational Drawing Show," San Francisco Art Institute, 1968 
"The Humanist Tradition in Contemporary American Painting," The New School Art Center, New 

York, 1968* 
"Young America, 1969", Whitney Museum, New York, 1969' 
"A Century of California Painting 1870-1970," travelling exhibition organized by the Crocker Bank, 

1970 
San Francisco Art Insitute Centennial Exhibition," San Francisco Museum of Modern Art, 1971 
"Annual Exhibition, " Whitney Museum, New York, 1972' 
"Invitational," Crocker Art Gallery, Sacramento, 1972 
"Exhibition of Studio Drawings," Oakland Museum, California, 1973 
"Elmer Bischoff, Joan Brown, Gordon Cook, George Lloyd: New Drawings," Charles Campbell 

Gallery, San Francisco, 1973 
"Portrait Painting 1970-1975," Allan Frumkin Gallery, New York, 1975' 
"Matrix: A Changing Exhibition of Contemporary Art," Wadsworth Atheneum, Hartford, 

Connecticut, 1975' 



page 3 

Group Exhibitions (cont.): 

"Art as a Muscular Principle: Ten Artists & San Francisco 1950-1965," Mount Holyoke College, 

Massachusetts, 1975* 
"Summer Show," Allan Frumkin Gallery, New York, 1975 
"Bay Area Artists Exhibition," Oakland Museum, California, 1975 
"Group Show," Charles Campbell Gallery, San Francisco, 1975 
"California Gold, "JPL Fine Arts Gallery, London, 1975 
"Hansen Fuller Gallery Pays Tribute to the San Francisco Art Insitute," Hansen Fuller Gallery, San 

Francisco, 1975 
"Color, Light and Image," Woman's Interart Center, New York, 1975 
"Retrospective of Sculpture in the Bay Area," James Willis Gallery, San Francisco, 1976 
"A Bicentennial Exhibition," Allan Frumkin Gallery, New York, 1976 
"Painting and Sculpture in California: The Modern Era," San Francisco Museum of Modern Art; the 

National Collection of Fine Art, Washington, DC, 1976* 
"California Figurative Painters, "Tortue Gallery, Santa Monica, 1977 
"Biennial Exhibition," Whiitney Museum, 1977* 
"Critic's Choice," Lowe Art Gallery, Syracuse University, New York, 1977' 
"Art Works," Hansen Fuller Gallery, San Franciso, 1977 
"Recent Art from San Francisco," exhibition organized by the San Francisco Museum of Modern 

Art for the Hague, Amsterdam, 1977 
Clark-Benton Gallery, Santa Fe, 1977 
"Representations of America," The Fine Arts Museum of San Francisco; Metropolitan Museum, 

New York and Soviet tour, 1977 
"Bad Painting," The New Museum, New York, 1978* 
"West Coast Artists," New Gallery of Contemporary Art, Cleveland, 1978 
"Sixth International Exhibition of Original Drawings," Museum of Modem Art, Rijeka, Yugoslavia 
"Works On Paper," Allan Frumkin Gallery, New York, 1978 
"Cartoons," Whitney Museum, Downtown, New York, 1978 
"Collector's Choice," Cincinnati Art Museum, Ohio, 1978 

"Art On Paper," Weatherspoon Art Gallery, University of North Carolina, Greensboro, 1978* 
"Works On Paper: Jack Beal, Joan Brown, James McGarrell," Allan Frumkin Gallery, New York, 

1979 
"Story Telling In Art," The American Foundation for the Arts, Miami, 1979* 
"Related Figurative Drawings," Hansen Fuller Gallery, San Francisco, 1979 
"By the Sea: 20th Century Americans at the Shore," Queens Museum, New York, 1979* 
"Large Drawings," Frumkin & Struve Gallery, Chicago, 1979* 
"Images 1979," Audrey Strohl Gallery, Memphis, 1979* 

"Seven On the Figure, " Pennsylvania Academy of the Fine Arts, Philadelphia, 1979' 
"From Allan to Zucker," Texas Gallery, Houston, 1979' 
"Renderings of the Modern Woman: Figurative Images of Women by Contemporary Artists," 

University ot Hartford, 1980' 
"The 1970's: New American Paintings," organized by the New Museum, New York; Eastern 

European tour, 1979-81' 
"American Figure Painting, 1950-1980," Chrysler Museum, Norfolk, Virginia , 1980* 
"Drawing at the Henry," Henry Gallery, University of Washington, Seattle, 1980' 
"Figurative Art: Brown, Colescott, DeForest, Provisor, Gaison, Wurm," Mandeville Gallery, 

University of California, La Jolla, 1980 
"Joan Brown, Robert Colescott, Roy DeForest," Fountain Gallery, Portland, Oregon, 1980 
"Forty Famous Californians," Judith Christian Gallery, New YorK 1981 



page 4 



Group Exhibitions (cont.): 

"The Figure: A Celebration," University ot North Dakota, Grand Forks, 1981 

"Animals: Celebration and Communion," San Jose Museum of Art, 1981 

"American Paintings of the Sixties and Seventies," Columbus Museum of Art, Ohio, 1981 

"Inside Out: Self Beyond Likeness," Newport Harbor Art Museum, Newport Beach, California, 

1981* 
"Northern California Art of the Sixties," De Saisset Museum, University of Santa Clara, California, 

1982 
"Focus On the Figure," Whitney Museum, New York, 1982 
"The Destroyed Print," Pratt Manhattan Center Gallery, New York, 1982* 
"74th American Exhibition," Art Institute of Chicago, 1982* 
"Figures of Mystery," Queens Museum, New York, 1982* 
"Drawings by Painters," Long Beach Museum of Art; Mandeville Art Gallery, San Diego; Oakland 

Museum.California, 1982* 
"The West as Art," Palm Springs Desert Museum, California, 1982 
"Miniatures from San Francisco," Belca House, Kyoto, Japan, 1982 
"Self-Portraits," Allan Frumkin Gallery, New York, 1982-83* 
"Early Work," The New Museum, New York, 1982* 
"Realism & Realities: The Other Side of American Paintings, 1940-1960," Rutgers University Art 

Gallery, New Brunswick, New Jersey, 1982' 
"Language, Drama, Source & Vision," The New Museum, New York, 1983' 
"The 38th Corcoran Biennial Exhibition ," travelling exhibition organized by the Corcoran Gallery, 

Washington, DC, 1983-84* 
"California Contemporary," Monterey Peninsula Museum of Art, 1983' 
The Figurative Mode: Bay Area Painting, 1956-1966," The Grey Art Gallery, New York University, 

1984' 
"The Figure in Contemporary Art," Maier Museum of Art, Randolph - Macon Women's College, 

Lynchburg, Virginia, 1984 
"The Human Condition: San Francisco Museum of Modern Art Biennial III," 1984* 
"In the Studio," Allan Frumkin Gallery, New York, 1984 
"Outline, Cutout, Silhouette," Allan Frumkin Gallery, New York, 1985 
"Disarming Images: Art for Nuclear Disarmament," travelling exhibition organized by Bread & 

Roses, 1984-86* 
"Content: A Contemporary Focus, 1974-84," Hirshhorn Museum and Sculpture Garden, 

Washington, DC, 1984* 
"The 20th Century: San Francisco Museum of Modern Art Collection, San Francisco Museum of 

Modern Art, 1984' 
"Three Reflections on the World: An Exhibition of Three Milton Avery Distinguished Visiting 

Professors in the Arts," Edith C. Blum Art Insitute, Bard College, Annandale-On-Hudson, 
New York, 1985' 
"Art In the San Francisco Bay Area, 1945-1980," Oakland Museum, California, 1985* 
"Five Contemporary Painters," CSCS Art Gallery, New York, 1985 
"38th Annual Purchase Exhibition, Hassam and Speicher Fund," American Academy and Institute 

of Arts and Letters, New York, 1986 
"Self-Portraits by Women Artists," Security Pacific National Bank's Gallery at the Plaza, Los 

Angeles, 1987 
"The Figure In Context," Koplin Gallery, Los Angeles, 1987 
"Self-Portraits: the Message, the Material," Skidmore College, Saratoga Springs, New York, 1987* 



IINE ARTS SERVICES INC. 




LOi A"ge'ei Co^O" 
?000« 
i (3131 938-3855 



Joan Brown s obelisk a! 
Horton Plaza 



A plaza 
of artistic 
pleasures 

By Robert L. Pincus 

An Critic 

"This site is like a dream come 
true," artist Joan Brown declared, 
referring to the circular stairwell at 
E Street and Third Avenue in Horton 
Plaza. "Some of my favorite archi- 
iectural elements from past cultures 
are here: Egyptian, Mayan and 
Roman " 

The truck bearing her sculpture 
hadn't made an appearance by the 
time I arrived for an interview early 
Monday afternoon, but Brown didn't 
seem concerned 'It's already in San 
Diego," she explained. And when we 
returned to the plaza after lunch, 
there was the truck, with her collab- 
orator and tile artisan, Satya Palani. 
keeping close watch over the unas- 
sembled sculpture 

Now in place for tomorrow's open- 
ing of the much publicized shopping 
and entertainment complex, Brown s 
obelisk is the first of the three art 
works chosen for Horton Plaza to be 
installed. According to art consultant 
Tamara Thomas, who has overseen 
ihese projects. Loren Madsen s SUS 
pended wood beam and steel cable 
jculpture should be in place in two 
weeks, while Peter Alexander > 
'Light Clock," a complicated mirror 
and prism artwork within the com 
plex, won't be completed until ai 
least October. 

Brown's copper-tipped obelisk syn 
thesizes the iconography of art from 
various Eastern cultures. It is a col- 
orful pictographic portrait of sea, 
earth and sky. Fish reside in the bot- 
tom section; a bold red jaguar in the 
center portion, and birds in the upper 
reaches The background of these im- 
ages is a field ot elegant cobalt blue 



Brown, wbo has studied the art of 
Egypi-and oriental cultures since the 
early '60s, is one of the best known 
Bay Area artists in a generation that 
includes such stellar figures as Wil- 
liam Wiley, Robert Hudson, Robert 
Arneson and Wayne Thiebaud. And 
she believes the plaza's revivalist ar- 
chitecture is a hospitable environ- 
ment for an artist whose paintings 
and sculptures have consistently in- 
corporated the symbolism of ancient 
Near and Far Eastern art. 

"This is the easiest project I have 
ever done. Everything fell into place 
right away," she said. 

Indeed, she has executed her sculp- 
ture in a relatively brief period of 
time. It was in February that a pro- 
posal for Horton Plaza by New York- 
based artist Judy Pfaff was judged 
too expensive to execute. So Thomas 
and the Center City Development 
Corporation's art advisory board — 
which was advising her on the three 
selections for the plaza — asked 
Brown to make a proposal. Brown 
did so, and within a month she had 
completed her plan for the prospec- 
tive work. (The obelisk cost the de- 
veloper of Horton Plaza, Ernest 
Hahn,I nc., approximately $140,000.) 

Judging by her enthusiasm forlhTs 
commission, one might think Brown 
was just starting her career. In fact, 
as Brown sees it, her newfound inter- 
est in creating works for public lo- 
cales has made her feel just this way. 
"I feel as if I am beginning all over 
again," she confided. 

Her career actually began amid 
the explosion of Bay Area art in the 
'50s and '60s. Recognition for her ex- 
pressionist and figurative paintings 
- which possessed affinities with the 
work of contemporaries David Parks 
and Elmer Bischoff — was rapid 

Brown began, exhibiting at small 
underground Bay Area galleries, like 
the Gallery Six, in 1957, But by 1959, 
she had a solo show in a New York 
gallery and in 1960, was represented 
in a show of "Young Americans" at 
the Whitney Museum of American 
Art. Soon thereafter, both the Whit- 
ney and the Museum of Modern Art 
bought paintings by Brown for their 
permanent collection. 



^^^^ ^pite the recognition and the 
■^,,,1 - .-* grew dissatisfied with her 
Tart and in 1964, stopped painting al- 
together. "I revolted against my own 
expressionism," she explained. 

She used the time she would have 
spent in the studio to study Indian, 
Tibetan, Chinese, Japanese Turkish 
and other Eastern works in the 
Avery Brundage Collection of San 
Francisco's Asian Art Museum. In 
this period of reflection and transi- 
tion, Brown forged the style of im- 
agery that she has refined in the past 
two decades and whose latest mani- 
festation is the Horton Plaza obelisk. 
"I had wanted to be an Egyptolo- 
gist since the age of 9," she said. "I 
prefer Eastern art to Western be- 
cause I love the simplification of na- 
ture that takes place in the work. In 
studying Chinese, Egyptian and other 
Eastern sources, I was drawn to its 
simplicity." 

She found her alternative to ex- 
pressionism in her study of this art 
And "I was interested in the decora- 
tive quality of the work, although 
'decorative' was a dirty word for art- 
L|m i 1 ° early '60s. But decorative 

^^PT lit than simply decoration." 

One look at Brown's work illus- 
trates that distinction. Her art 
doesn't function as a backdrop for 
domestic decor or as a space filler 
for corporate lobbies or outdoor pla- 
zas. Rather, its lush colors and whim- 
sical representations of humans, ani- 
mals and the heavens are striking 
expressions of a genuinely comic viJ 
sion of the world. 

Making public art, however, is a 
relatively recent development in her 
career. In 1982, when she exhibited in 
Los Angeles at the Koplin Gallery, 
Brown was already creating sculp- 
ture: more specifically, pillars on 
which she employed her vocabulary 
of pictographic images. But she was 
also looking for a way to create 
works large enough for outdoor sett- 
ings 

She had already decided on the 
obelisk as the appropriate form. "All 
my life, the obelisk has been one of 
my favorite forms and the Washing- 
ton Monument is one of my favorite 
» «pulDtures 



The history of the obelisk also suit- 
ed her notion that art should have a 
spiritual aura. "In Egyptian culture, 
it represented the rays of the sun. It 
was a religious symbol, a symbol of 
the all-pervading spirit." 

But she was still puzzled about 
what materials would be best, when, 
in the midst of having her kitchen 
retiled, Brown hit upon the idea of 
using tile in her sculpture, too. She 
asked the artisan who had worked on 
her kitchen, Satya Palani, if he 
thought it was possible to make im- 
ages which would create the illusion 
of three dimensions in tile. His re- 
sponse was encouraging. 

Working from Brown's design, 
Palani cut tile to fit the style of the 
scenes she specified and they com- 
pleted a six-foot obelisk. He has been 
assisting her ever since. 

The Horton Plaza obelisk is her 
fourth and largest piece in this mode 
and it is only the second one for a 
public space. (The other is located in 
Akron, Ohio, in the foyer of the Ohio 
Building Authority headquarters.) 

These two obelisks also point to the 
current direction of her career. 

"I've become turned off by the 
idea of collectors. The way they buy 
is antithetical to the reasons why I 
make art. I work from my heart. But 
too often now, art is bought for a 
quick financial turnover or social 
status." 

Brown believes that art in public 
spaces reaches a different audience. 
"I feel that the average person has 
better access to art in a place like 
this plaza. People are intimidated by 
galleries and museums. 

"Now and then, I will continue to 
show in galleries, but not as much as 
in the past." 

There is another major reason why 
Brown is currently dedicated to the 
creation of large-scale sculpture for 
public places. "I like the idea of col- 
laboration," she said. "I still need to 
be isolated in the studio, but too 
much time in isolation breeds an 
ivory tower mentality. It is a return 
to the way of the ancients to work 
interdependently. it's a good lesson 
for our time, which is dominated by 
self-interest " 



Yet for all of her love of ancient 
art, Brown has no desire simply to 
mimic such distant precedents. In 
the process of borrowing from them, 
she transforms them into a presenta- 
tion decidedly her own. 

"I may prefer ancient art, but nat- 
urally I'm going to interpret it in my 
own way. I'm not trying to be con- 
temporary, it's just automatic." 

Her distillation ofjhe historical 
art, however, is anything but auto- 
matic: it is the product of years of 
looking and working with her sourc- 
es. As she explains: "It's harder to 
simplify than to include more." 

That effort to simplify without 
being simplistic is evident in the 
Horton Plaza obelisk and so much of 
Brown's recent art. It is an aesthetic 
ambition that serves her well. 



Mil 



San Francisco Examiner/Chronicle 
August 2, 1987 



In her bund-new studio near Candle- 
stick Park, Joan Brown's eighteen- 
foot-tall Pine Tree Obelisk — which 
has sinec been assembled and in- 
stalled in Golden Gateway Center in 
San Francisco— is taking shape. The 
base stands on one table, ready to be tiled; 
the shaft, in two sections, is already finished 
in brilliant blues, greens and oranges. 
Sketches and models of an even taller obe- 
lisk, which will rise next year in the new 
Rineon Annex development, sit alongside, 

I he peine, red-haired sculptor quickly 
acknowledges that she doesn't work alone on 
her modern adaptations of the ancient obe- 
lisk Collaboration and public art are two of 
Brown's favorite subjects, and each of her 
outdoor sculptures (here and in San Diego 
and Beverly Hills) is the product of many 
partners Drown, ihe designer, works with a 
structural engineer, who draws up the inner 
Jr Mine. .1 welder, who assembles it, and a 
^^dicr. who cuts and applies Brown's 
surface design lo a layer of Wondcrboard. a 
material used in building swimming pools 

Brown values collaboration, she says. 
because u is integral to the art of all ancient 
cultures She is a self-described amateur 
archaeologist, and her work reflects a life- 
lung interest in the subject. Evidence of 
recent journeys to India. Egypt, China and 
i enn ii and South America crop up in her 
work \ Minuan /ig/ag pattern decorates a 
school ol dolphins: an Egyptian wave motif 
.plashes across i fountain 

i lluboraliun and public art are rncan- 
I , J . ..ii Brown lor another reason 

lln. represenl a rejection of the commer- 
cial i/ed ari world of high-priced galleries and 
an purchased for investment The Opening, 
her 1974 drawing of champagne-drinking 
skeletons euvorling in front of paintings in a 
gallery, reflects ihe sentiments of a successful 
artist who has at times refused to sell her 
paintings, or has made them so large as to be 
inaccessible "I've had paintings that have 
.hanged hands in one week," she says. 
"Investors buy art like they'd buy a bottle of 
wine or a car I'm delighted to share what I 
do w n h just people I love the idea of art once 
gain being pari ol society, as i| was in every 
ullure " 





Joan Brown's Pointed 
Art for Public Places 

BY RtNAlA POLT 



Brown, a second-generation San Francis- 
can, began as a painter, graduating from the 
California School of line Arts in Is)ti0. In 
Ihe laic '50s and earls 'MK a period when. 
Brown says, "there was an enormous amount 
of enthusiasm and energy in San Francisco" 
she became a member of the Bu\ Area 
Figurative School, as it was labeled after the 
fact, together with other well-known artists 
such as David Park. Richard Diebenkorn. 
I Inter Bischoff (who was her most signifi- 
cam teacher) and sculptor Manuel Neri. to 
whom she was married Her paintings then 
were influenced by Matisse; but since 1965. 
when Brown began to study Chinese art by 
making daily. Msits lo the Brundage Collec- 
tion al l he Asian An Museum, her major 
influences have been ihe art of the Far East 
and Middle bast 

Her travels, which began ten years ago. 
inspired Brown 10 create decorated public 
pillars and obelisks She searched for a 
material lo surface her monuments that 
could withstand the elements as well as 
retain brilliant color It was while she was 
looking lor new tile for her remodeled kitch- 
en lhai she was struck by as possibilities for 
her works "I couldn't believe the colors." she 
says "I thought, this is so jewellike, exactly 
like the intense colors I use in painting " 

Though until recently painting has been 
her main activity, Brown has always done 
sculpture as well \\ ill) copper- or gold-plat- 
ed wood figures ol cats glare with bgyp- 
lian-slyle stone eyes from corners of the 
art-filled Diamond Heights home Brown 
sha.es wild her husband. Michael Hebel. a 
captain in the San Francisco Police Force 
and a fellow enthusiast ol archaeology and 
travel 

M I i Berkeley, where she is u lull 
professor, Brown leaches painting and draw- 
ing and nork.s with graduate students on a 
variety of projects, including public an 
"> oung people are vers excited aboui that." 
she sa\s "|i\ a much more honorable way to 
go al this nine It ina\ sound vers idealistic 
but I think ihe world would be a much belter 
place 'l we all slopped being so sell- 
centered " O 

Nriuilu /'.'// i> .< nVrAWiT-Auwrf frtv-laikv 




&&SK 



Dan I - lop Jl wuik in her sludio «ithj model 
ol Ine Pine bee Obelitk tile palte'm hanj on the 
oil behind hei »00<e ti/ei JOtmA no» installed 
in j stale ollice building in »k<on Ohio ItUPwe 
• ii Golden Sjlfwa, Cfnlet and oppo 
it I detail Horn the oOfiisk 




SAN FRANCISCO ARTS COMMISSION GALLERY 

1 55 Grove Street, San Francisco, California 94 102 (41 5) 558-4445 



SAN FRANCISCO ARTS COMMISSION GALLERY ADVISORY BOARD 
Residence, Ethnicity, Appointment Dates & Affiliations 



Ann Carter 
San Francisco 
1 2/87 - 1 2/90 
Caucasian 



Artist 

Represented by Janet Steinberg Gallery 

Assistant to the Director, Dorothy Weiss Gallery 

Art Instructor, Richmond Art Center 

Art Instructor, Concord Day Treatment Center 

Visiting Artist, Mills College 

Member, Alumni Association, San Francisco Art Institute 



Bonnie Earls-Solari 
San Francisco 
1 2/87 - 1 2/90 
Caucasian 



Helaine V. Fortgang 
San Francisco 
1 2/87 - 1 2/90 
Caucasian 



Director, Art Program, BankAmerica Corporation 

Vice Chair, Graphic Arts Council Board, 

Achenbach Foundation for Graphic Arts, Fine Arts Museums 

Vice Chair, ArtTable, San Francisco Chapter 

Membership Chair, Association of Professional Advisors 

Advisory Board, International Sculpture Conference 

1st Vice-Chairperson, Arts Commission Gallery Advisory Board 

Founding Executive Director, The Jewish Community Museum 
M.F.A. student - California College of Arts and Crafts 



Adrienne Fuzee 
2/88 - 2/91 
Black 

Glen Helfand 
5/89 - 5-92 
Caucasian 

Louise Jordan 
San Francisco 
9/85 - 9/91 
Caucasian 

Tony Labat 
2/90 - 2/93 
Cuban 



Artist, Poet, Curator, Art Instructor 

Owner, Salads & Salads 

Chairperson, Arts Commission Gallery Advisory Board 

Graphic Designer; Owner, Critical Graphics 

Art Critic and Contributing Editor, Artweg^ SF Weekly 

Member, Curatorial Board, The Lab, 1990 

Retired, Vice President and Director of Corporate 

Art Collection, Crocker Bank 

Advisory Board, National Association of Corporate Art Managers 

Advisory Board, Artsearch, Denver 

Artist - Performance and Video 
Faculty, San Francisco Art Institute 
Curator, LIMBO Video, ARTSPACE 



A project of the S.F. Arts Commission and Friends of the Arts. 

GALLERY HOURS: Tuesday through Saturday. I I- 5 PM Thursday: I I -S PM 



SAN FRANCISCO ARTS COMMISSION 
GALLERY ADVISORY BOARD 



Catherine Maechling 
5/89 - 5/92 
Caucasian 

Mark McCloud 
San Francisco 
9/85 - 9/91 
Argentine 

Armando Rascon 
5/89 - 5-92 
Mexican/American 



Attorney-at-Law, McCutchen, Doyle, Enerson & Brown 
2nd Vice-Chairperson, 

Arts Commission Gallery Advisory Board 

Artist, Curator, Collector 

Art Instructor, Ceramics, St. Mary's College 



Owner, Terrain Gallery 
Artist 



Christine Tamblyn 
San Francisco 
1 2/87 - 1 2/90 
Caucasian 



Susan Werner 
2/90 - 2-93 
Caucasian 



Artist, Writer, Curator 

Lecturer, Inter-Arts Center, San Francisco State Univeristy 

Lecturer, San Francisco Art Institute 

Contributing Editor, ARTWEEK 

San Francisco Correspondent, Art News 

Member, Curatorial Board, Intersection for the Arts 

Regional Manager, Progressive Architecture, 
Computer Aided Engineering 



Wayne Zebzda 
5/89 - 5/92 
Caucasian 



Artist 



SanJFranrisco jExaminrr 



ARTS 10 L 




Saturday 



SEPTEMBER 8. 1990 



Artists bury 'endangered' work 



S.F. group stages 
symbolic protest 



of'c 



ship' 



By M»rk Unfto: 



A time capsule containing "en- 
dangered" works of art was buried 
Friday by a raucous group of artists 
and activists in response to Sen. 
Jesse Helms' attacks on funding 
for the arts, and to the institution 
of a loyalty oath reminiscent of the 
ant i -Communist witch hunts led 
by Sen. Joseph McCarthy in the 

^8^^» serenade outside the Op- 
era House by the locked-out San 
Francisco Opera Orchestra, about 
200 demonstrators took part in the 
burial ceremony in an empty lot 
next to the San Francisco Arts 
Commission Gallery, following a 
round of speeches. 

Speakers targeted the North 
Carolina senator. President Bush 
and John Frohnmayer, chairman 
of the the National Endowment of 
the Arts. 

The ceremony and protest rally 
were tuned to coincide with the 
reconvening of Congress and its 
impending debate over the NEA, 
according to event organizer and 
art critic Glen Helfand 

Because of NEA Director 
Frohnmayer's recent denial of 
funds to artista Holly Hughes. Tim 
Miller. John Fleck and Karen Fin- 
ley, activist gays are particularly up 
in arms, said Helfand. because 
three of the rejected recipients are 
gay. and the work of all four deals 
with the politics of sexuality. 

"Frohnmayers action is a first 
step toward legislating what is es 
senliallv a cultural agenda, which 
calls for the elimination of diversi 
ty and supports sexism, racism and 
homophobia," Helfand aaid. 

J.m Melchert. a UCBerkeley 
art professor and former director 
Of the Visual Arts Program at the 
NEA. defended the current "peer 
panel"" system of awarding gruiU 
in which artisLs judge artisU fur 




to think about the possibility of 
being defunded 

"The NEA wants me to sign a 
pledge that I will not make homo- 
erotica," said Goode. "1 am doing 
important work. Tm not trying to 
titillate or convert. I am trying to 
inform," he said. 

The time capsule, a 1^-by-l- 
foot metal box containing M works 
by local artists, was lowered with 
ropes into a "grave" with a card- 
board headstone that read "Bigot- 
ry — RXP." A select few covered 
the time capsule with dirt, among 
them 9-year-old Veronica Worces- 

Among the works in the capsule 
were "A Letter To Jesse Helms" by 
physically disabled artist Frank 
Moore; a poem titled "The Satin 
Arcane." by poet Jack Hirschman. 
"Red Channels," a videotape by 
Chris Bobbins, and a videotape ti- 
tled "29 Effeminate Gestures," bv 
Goode. 

Adrienne Fuiee, curator and di - 
rector of Berkeley's Zocole Gallery. 
■aid burying the time capsule, 
which will be dug up in five years, is 
just another way of putting the 

Said Fuzee. a forceful speaker 
"You have to take a stand Once 
you really take a stand, there's 
nothing they can take away from 
you except your life. 

"We are about the spirit of the 
times. We are in the forefront and 
we are in the fringes. We are here 
in all of our diversity, our weird - 
ness, our queemess and our beautv 

"We are the future We are the 
present- We are a present to Amer- 
ica," said Fuze*, "thai it is afraid to 



Preservation of Expression Time Capsule Inventory Sept. 7, 1990 

1. "Bible Epic Postcard"/Mixed Media/Gerard Koskovich 

2. Four Photographs/Chris Komater 

3. Three Essays/Rebecca Solnit 

4. Five Postcards/Richard C. 

5. "A letter to, Jesse HelmsVText/Frank Moore 

6. Handmade Book and Essay/Ellen Sebastian 

7. Photograph/Dan Nicoletta 

8. "In Memoriam to IdentityVNovel/Kathy Acker 

9. "Tattoo Cross"&"The Wicked Close to HomeVNovels/Floyd Salas 

10. "His Dick is MineVCollage/Jono Weiss 

11. "Statue of LibertyVMixed Media/Paul Cotton 

12. Five Poster s/Anonomous 

13. Essays/Judy Malloy 

14. "Catacomb"/Photograph/Mary Fulwood 

15. Essay/Frank Moore 

16. "In Fragrante DelictoVMixed Media/Peter Edlund 

17. "Dirty Dreams of a Mixed Up KidVSoundtrack/Henry Mach 

18. "Gay SemioticsVPhoto Book/Hal Fischer 

19. Posters/Stephen Perkins 

20. "Time CapsuleVCopper Sculpture/Michael Brown 

21. "Miss Margarida's WayVScript by Roberto Athayde/Philip Horvitz 

22. Photographs/Cecilia Dougherty 

23. "The Satin Arcane"/Poetry/J. A. Hirschman 

24. Poster/ARTtorneys at Work 

25. Magazine and Poetry/Margot Pepper 

26. "Ancient GatewaysVMixed Media/Sonya Rapaport 

27. Mixed Media/David Wajnarowicz 

28. "Elementary ArtVDrawing/Dorian Harding-Morick 

29. NEA Project Grant Application for FY 1991/Frameline 

30. "Wanted Powerful EnemyWideotape/Bruce Pollack 

31. "No Comfort Here";"Sleep of Reasons" ; "New Danger "/Videotaped 
Choreography/High Risk Group 

32. Images and Text/David Levi Strauss 

33. Autographed Photograph of Mitzi Gaynor/Rodney Austin 

34. "An Artist's Declaration of Independence"/Text/Tim Miller 

35. Documents/S.F. Bay Area Coalition for Freedom of Expression 

36. Text/U. P. Yours 

37. Text/Steve Abbott 

38. Posters/Girl with Arms Akimbo, Boy with Arms Akimbo 

39. Mixed Media/Trans Parent Teachers Inc. 

40. "Inner ViewVText/Stephen Kauffman 

41. Mixed Media/Melissa Levin 

42. "History of the World According to a LesbianWideotape/ 

Barbara Hammer 

43. Catalog/"What's Wrong with this Picture?"/Var ious artists/S.F. 
Arts Commission Gallery 

44. "Red ChannelsWideotape/Chris Robbins 

45. Poster/Guerrilla Girls 

46. "Homophobia at the NEAVNY Times article/Holly Hughes and 
Richard Elovich 

47. "The Braodway Boys"/Recording/John Ginoux 

48. Sculpture/Thomas Foss 

49. Poster , Fliers/Louis Walden ....AND OTHERS 



50. "29 Effeminate GesturesWideotape/Joe Goode 

51. Mixed media/Wendy Ober lander 

52. "The Couple and the Ring n /Collage/A. Garcia Urriolagoittia 

53. "Bill of RightsVText/Charlie Milgftir*. 4 *$h- rkc^/u-E^ 

54. Catalog/Flag Show/S.F. Art Institute/50 artists 




25 Van Ness Avenue 

Suite 240 

San Francisco, CA 94102 

(415)554-9671 



VISUAL ARTS COMMITTEE MEETING 

Wednesday, Oct. 17th, 1990 

3 p.m. 

Arts Commission Conference Room 

Suite 70, 25 Van Ness 



MAYOR 
Art Agnos 



Please note: time schedule for agenda items is only an 
approximation. Agenda items may actually be heard earlier, 
or later than estimated. The committee may also change 
the order of appearance. 

AGENDA 



COMMISSIONERS 3:00 



Barbara Sklar 
President 

Nancy Boas 
Vice President 



Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Heary 
John Krlken 
Robert F. LaRocca 
Amalla Mesa-Bains. Ph.D 
Ral Y. Okamoto 
Dodie Rosekrans 



3:05 



3:50 



4 :00 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission, 
Recreation and Park 
Commission 



I. Approval of Minutes; Sept. 19, 1990 

OLD BUSINESS u 

II. Collections: Goddess of Democracy 
Proposal for the patination color of statue 
Presenter: Tom Marsh ( Debra Lehane ) 

III. Gallery: Exhibitions Schedule 
Preliminary plans for exhibitions schedule 
for 1990-91 season. (Anne Meisner) 

IV. Art Enrichment 

San Andreas Water Treatment Plant (Tonia 
Mcneil; Visitors: Tim Collins, Reiko Goto) 

I . Progress Report 

II. Request to authorize interim payment of 
$6,000 for design of art work at San 
Andreas Water Treatment Plant 



DIRECTOR 
Claire N. Isaacs 



4 : 15 



PROGRAMS 

Arts Festivals 

CMc Art Collection 

CMC Design Review 

Nekjhborhood Arts 

POPS Symphony Concerts 

Public Art Program 

Street Artists Licenses 4:20 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
415-554-9682 




4:45 



Art Enrichment: Sheriff's Facility 

(Susan Pontious) 

Request for contract modification for Doug 

Hollis to reimburse him up to $1,500 for the 

fabrication costs of a 1/4 scale model of the 

north facade window screen. 

Art Enrichment: Airport (Susan Pontious) 

1 . Review of RFP for Airport Master plan 

2. Set date for applicant review 

3. Planning workshop 

a. Approval of budget 

b. Review of potential participant 
list 

c. Authorization for staff and 
Committee liaison to make final 
selection of participants. 



VII. Art Enrichment.: 
Progress Report 



Library (Jill Manton) 



VIII. Art Enrichment: Embarcadero (Jill Manton) 
Progress Report 

5:05 IX. Art Enrichment: Skilled Mental Health 
Nursing Facility (Susan Pontious) 
Progress Report 

NEW BUSINESS 

5:15 X. Rainforest Mural Project 

Presenter: Emmanuel Montoya (Tonia Mcneil) 
Approval of mural design for the old 
firehouse at Oak and Divisidero; tribute to 
Chico Mendez ; sponsored by. Rainforest Action 
Network and Earth Island Institute. 

5:25 XI. San Francisco Beautiful Mural 

Presenter: Pleasant Carson (Tonia Mcneil) 
Approval for mural design for wall at Golden 
Gate and Stanyon. New mural will replace 
mural at that site. Sponsored by Middle 
Passage Visual Arts Workshops. 

5:35 XII. Photography Exhibit at Water Dept. 

Presenter: David Miller, photographer (Tonia 
Mcneil ) 

Request by John Mullane, General Manager of 
Water Dept. for committee to approve 
photography exhibit by David Miller at the 
lobby of 425 Mason Street. 

5:50 XIII. VAC meeting schedule: jC° n f i rmation of 
upcoming meeting schedule. 

6:00 XIV. Adjournment 




MINUTES FOR VISUAL ARTS COMMITTEE MEETING 
OCTOBER 22, 1990 

25 Van Ness Avenue „, , _ . 

Suite240 The regular monthly meeting of the Visual Arts 
^ F «T^°,' CA '"'O 2 Committee was held on Monday, October 22, 1990 in the 

\A I O) oo4 -V67 1 

Arts Commission Conference Room, Suite 70, at 25 Van 
Ness Ave . 



MAYOR 
ArtAgnos 



Commissioner Healy called the meeting to order at 3:40 
p.m. 

Roll: Commissioners present: 



commissioners Anne Healy, Chair 

Barbara Skior Robert LaRocca 

President Nancy Boas 

NancyBoas Amalia Mesa-Baines 

Vice President 

Vernon Alley c , n f . 
Stanley Elchelbaum otail present: 
Kim Fowler 

Daniel Genera r> i_ t u 

AnneHeaiy Debra Lehane 

JohnKrlken Jill Manton 

Robert F. LaRocca m " m ■ l 

Amalia Mesa-Bains. Ph.D. Ionia Macneil 

Red y. Okamoto Susan Pontious 

Dodle Rosekrans 



Approval of Minutes of Sept. 19, 1990 meeting 
The minutes of Sept. 19, 1990 meeting were 
approved as read on a motion by Commissioner Boas, 
Fine Arts Museum Commissioner LaRocca seconded. The motion was 

Library Commission. „„„„„. ,„j ..««« ; _„.,„ 1 „ 

Plnnninn Commission. approved Unanimously. 



EX OFFICIO MEMBERS 
Presidents ot the 



Planning Commission 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 



II. Collections: Goddess of Democracy 

Tom Marsh presented the Committee with three 
different patina colors for the Goddess of 
Democracy: green, bronze, and with a coating of 



Arts Festivals white epoxy paint. He said that the green or 

CMc Art Collection bronze patina maintenance requirement was yearly 

CMc Design Review r ^ ' ' 

Neighborhood Arts cleaning and coating. The white epoxy required 

?l F !? S ^ h ° n ,^ oncem less maintenance and was graffiti resistant. 

Public Art Program ° 

Street Artists Licenses 

The recommendation of the Goddess of Democracy 

Suite430 Committee was the white epoxy. Commissioner Healy 

^^ < S. l 7 P 7 ar1nerShip reminded Marsh that part of the agreement when the 

415-554-96// 

ArtHouse piece was approved was that the patina be either 

415-554-9679 green or brown. Marsh said he realized that, but 

in light of new evidence, i.e. the maintenance 

Arts Commission ^Gallery issue, he was asking the Committee to reconsider. 

155 Grove Street ' ° 

415-554-9682 



VACMIN 10/22/90sp Page - 1 




He said that the Goddess of Democracy Committee does 
have a maintenance fund, under the administration of 
Park and Recreation Dept. Debra Lehane said that 
Park and Recreation will work order the maintenance 
to the Art Commission. 

Artist Ruth Asawa spoke on behalf of the white 
epoxy. She said that the artists' opinion (of what 
color the coating should be) should be respected 
over the opinions of others. 

Commissioner Mesa-Baines said that the issue was 
very complex because this was not an original work 
of art, but an interpretation of an art work done by 
others. In considering whether to accept the gift, 
the Commission had to consider many issues, and did 
compromise where they could. But the reasons for 
not approving the white patina were the problems of 
vandalism the city has experienced in the past and 
issues of scale and dominance. 

Commissioner LaRocca moved to approve the green 
patina; Commissioner Mesa-Baines seconded. Motion 
was approved unanimously. 

Tom Marsh asked that the Art Commission request the 
working drawings for the planters as soon as 
possible so that they can determine the precise 
location for the sculpture. He can't design the 
pedestal until he gets the drawings. Debra Lehane 
said that the drawings probably won't be sent to us; 
Tom Marsh should work directly with Deborah Lerner 
from the Dept. of Park and Recreation. 

Marsh reported that Carl Worth of the Walnut Creek 
Civic Center Gallery has requested to show the 
bronze casting in January. Marsh said that he was 
certain that the Portsmith Square site would not be 
ready by then, so he would like the Committee's 
blessing on exhibiting the piece in Walnut Creek. 
The Committee agreed. 

III. Gallery 

Anne Meissner made a presentation of her preliminary 
exhibitions schedule for the San Francisco Art 
Commission Gallery. She said that this 
presentation was purely informational; she would 
come back later with slides. Current plans include: 



VACMIN 10/22/90sp Page 



Chain Reaction VI in January; Neo-Medievalism in 
Feb/March; _a two/three person show in April/May; 
a show of fabricated photographs for May/ July; and a 
show coordinated with the outdoor City Site exhibit 
for July/August. The gallery would be closed for 
Sept. She is also planning 3 City Site projects 
throughout the year if funding is secured. 

The Committee expressed the desire to know more 
about the members of the Advisory Board, 
particularly in regard to mu L t i -cul tural 
representation. Anne Meissner said that she had 
supplied them with a list, but that they were adding 
five new people. Commissioner Healy recommended 
reviving the idea of a joint meeting. Commissioner 
Mesa-Baines said that she would like to explore the 
role of the gallery, perhaps consider doing some 
exchange shows. 

Meissner said that she would love to do that, but 
that they would have to look at the problems of 
staffing, their facilities and security. She would 
also like the Committee to understand that their 
budget was very low, and that they were able to 
operate because she had secured so many in-kind 
donations . 

IV. Art Enrichment: San Andreas II. 

Tonia Macneil reviewed the history of the project 
for the Committee. The artists were selected last 
April. At their Sept. 19th meeting, the Committee 
approved the artists concept for a hydroponic 
sculpture. This plan was enthusiastically endorsed 
by the UEB (Utilities Engineering Bureau) project 
manager and Water Treatment Plant staff. However, 
when UEB presented the project to the Water Dept. 
upper management, the project was not approved. 

Independently, the Water Dept. General Manager, John 
Mullane, has requested money for paintings for Hetch 
Hetchy. He was unaware that the Commission had 
moved ahead and involved artists already. He has 
agreed to meet with the artists and review their 
concepts. In the meantime, work has come to a stop 
on the art. project. Nonetheless, Macneil emphasized 
the need to pay the artists for their work thus far. 



VACMIN 10/22/90sp Page - 3 



Jill Manton reported that John Mullane expressed 
concern about placing art in a facility with so 
little public access; he thinks that Hetch Hetchy 
administrative offices might be more appropriate. 
Manton said that the artists may need to modify 
their concepts for a different site, although the 
intent of the ordinance is to commission work for 
the site that generates the funds. She said that in 
the future top level management should be involved 
regardless of the recommendations of sub-management. 

Commissioner Healy said that the Committee would go 
on record supporting the artists' concept as 
conceived for San Andreas, and directed staff to 
proceed with setting up a meeting with John Mullane 
and the artists. Members of the Visual Arts 
Committee who are able will also attend. Steve 
Leonard, the water quality manager, should also be 
asked to attend to share his concerns. 

Commissioner Mesa-Baines moved to approve an interim 
payment of $6,000 to Tim Collins and Reiko Goto for 
the design of the artwork. Commissioner LaRocca 
seconded. The motion was approved unanimously. 

V. Art Enrichment: Sheriff's Facility 

Susan Pontious requested that the Committee approve 
a contract modification of $1,500 for Doug Hollis to 
cover material costs for constructing a 1/4 scale 
model of the ceramic frit design for the windows on 
the north facade as requested by Civic Design. 

Commissioner Boas moved to approve the contract 
modification of $1,500. Commissioner LaRocca 
seconded. The motion was approved unanimously. 

VI. Art Enrichment: Airport 

Susan Pontious reported that Jason Yuen, our contact 
at the airport, has asked us to slow the selection 
process down so that it occurs after the completion 
of the Environmental Impact Study, due to be 
completed in the next couple of months. After the 
EIR report, he will go to the Airport Commission and 
request permission to hire artist planner and 
architects etc. He said that we can go ahead and 
solicit artists. Application deadline has now been 
extended to November 30th. 



VACMIN 10/22/90sp Page 



-~, 



Pontious presented the idea of having some 
workshops directed at the arts plan. The panelists 
would be selected to compliment the skills of the 
lead consultant and paid a modest fee to 
participate . 

The Committee reviewed the draft of the RFQ. 
Commissioner Mesa-Baines suggested adding language 
about looking at the airport's social and cultural 
environment: it is not just about transportation, 
but also about an encounter with world culture. 
Commissioner Healy requested that the requirement 
for providing references be deleted. 

Commissioner Healy moved to approve the RFQ as 
edited. Commissioner Boas seconded. The motion was 
unanimously approved. 

Art Enrichment: Embarcadero 

Jill Manton reported that we are in receipt of Roger 
Berry's final Arts Plan for the Embarcadero. The 
various components of the Arts Plan will be 
approved by the Arts Commission, PUC Project 
Manager, the CAO ' s project manager and Doug Wright, 
Deputy Mayor of Transportation. 

For those aspects of the plan that call for 
integrated art work, we need to get the artists on 
board and have proposals by February in order to 
coordinate with the production of the working 
drawings for the South Embarcadero. She requested 
permission to proceed with the artist selection 
process . 

Manton said that she does not yet have a funding 
commitment, but to be timely she needs to proceed 
with the South Embarcadero Projects. These include 
the interpretive signage, the Ribbon Project, the 
Muni-Metro Portel Project and the Gateway at 2nd and 
King Streets. Doug Wright and Peg Divine are going 
to PUC to request the funds for modest proposal fees 
for the artist teams. She said that she needs to 
have specific proposals to sell the project and get 
final funding commitments. 

Roger Berry's plan also addressed "out of scope" 
projects that are not fundable through the 



VACMIN 10/22/90sp Page 



Waterfront Transportation Projects or the City 
because they are on Cal Trans or Redevelopment 
property. In the coining months, she will be working 
with the Visual Arts Committee to explore ways to 
encourage these agencies to include artists in the 
projects under their direction. 

In response to a question by Commissioner LaRocca, 
Peg Divine explained that for construction, the 
project is being divided into four sections. They 
are as follows: 

South Embarcadero: Folsom and 3rd and King. 
Construction should begin a year from now. 

North Embarcadero: Broadway and N. Columbus St. 

King St. : 3rd and 6th 

Mid-Embarcadero : Folsom and Broadway 

The Committee expressed the concern that in breaking 
the project down into sections for construction 
purposes, that the _continuity of the project not be 
lost. Commissioner Mesa-Baines said that one way of 
ensuring that we maintain a wholistic vision for the 
project is in how we structure it for artists. The 
artists should meet with each other. Divine 
suggested that the artists' scope of work include 
monthly informational meetings with artists and with 
the city's project designers. Commissioner Healy 
clarified that these meetings would be informational 
only . 

Manton reported on the next step of the project. 
Bechtel has finished their work and most of their 
recommendations have been accepted. The work now 
goes back to the city. Between now and February, 
the project will be reviewed by Civic Design, BCDC 
and the Port Commission, who will vote on the design 
criteria . 

She also wanted to clarify an issue brought up at 
the last meeting regarding to whom the urban 
contract will be let. The project is not under the 
contract of DPW , who does the design development, 
but under the CAO ' s office. The CAO's office will 
serve as the "watchdog" to make sure that the 



VACMIN 10/22/90sp Page - 6 



project design fulfills the criteria established and 

is true to the drawings. So if certain materials 

were approved, that is what one would expect to see 
speci f ied . 

Commissioner Boas left the meeting at the end of this 
agenda item. 

VI. Art Enrichment: Mental Health Facility 

Susan Pontious referred to her written progress 
report submitted to the Committee. She summarized 
saying that the artists had presented their 
preliminary concepts for the complex. Because the 
exterior deadlines were first, those ideas were more 
developed. It was the concern of the Project 
Manager, Phyllis Harding, that the exterior plans 
would eat up too much of the budget, and that there 
wouldn't be enough funds left to adequately treat 
the interior. _ 

Pontious reported that the artists had been directed 
to develop a project budget for both the interior 
and exterior to help bring the two phases into focus 
and that this was due on Nov. 5th. 

VII. Mural Project: Rainforest Project. 

Emmanuel Montoya presented his design for a mural 
for the old fireliouse at Oak and Divisidero. The 
mural is a tribute to Chico Mendez and is sponsored 
by the Rainforest Action Network and the Earth 
Island Institute. Susan Pontious said that the Art 
Commission had received a letter from the Fire 
Commission confirming that they had approved the 
design and the site at their October 9th meeting. 

The Committee comments were generally very 
favorable; they did recommend that the artist work a 
little more on some of the transition areas on the 
right side. 

Commissoner LaRocca moved to approve the design. 
Commissioner Healy seconded. The motion was 
unanimously approved. 

VIII. Exhibit at Water Dept. 

David Miller requested approval for an exhibit of 
works on paper at the lobby of the Water Department 



VACM1N 10/22/90sp Page 



at 425 Mason St. Commissioner LaRocca moved 
approval of the exhibit. Commissioner Mesa-Baines 
seconded. The motion was approved unanimously. 

IX. Art Enrichment: Sunnydale Pump Station 

Jill Manton read the Committee a letter from 
Patricia Johanson regarding requests from the 
engineers hired by Clean Water to produce working 
drawings indicate which items in her design can be 
omitted in case the project is over budget. The 
Clean Water Department does not want to hold up the 
construction of the project while they raise more 
money for these items. The artist expressed grave 
concern over the future of these "deduct alternates" 
given that department's past support of the project. 
She said that the project is already being 
constructed out of the cheapest possible materials, 
and most of the more interesting features have 
already been removed. If any more is deducted from 
the project, she said that her name can also be 
removed, or the project should not be built at all. 

Manton said that she had talked to the city attorney 
earlier in the year when the Commission voted to 
rescind Phase III Design approval. At that time, 
the city attorney's advice was not to pursue the 
issue because the decision to separate the artist's 
design from the project design had been made with 
the Art Commission Director's consent. 

The Committee went on record taking a strong stand 
against further changes of the artist's concept. 
They directed Manton to pursue the issue further 
with the city attorney, and to have Clean Water come 
back before the Committee so that the Committee 
could approve the materials being used for the 
artist's project. They also directed that Manton 
look into the possibility of having the artist 
specify the contractor for the project to ensure 
that its construction is true to the spirit of her 
design. Manton said that this is sometimes possible 
under a so-called "genius contract". 

X. Art Enrichment: Library 

Jill Manton reported that Lothar Baumgarten had met 
with the architects in New York and that the meeting 
had gone well. A discussion ensued regarding the 
basic fee structure for this first phase. Manton 



VACMIN 10/22/90sp Page 



reported that the Commission and the architects had 
specified that all the artists would be paid the 
same base rate with additional travel expenses. 

Marianne Goodman ( Lothar Baumgarten's 

representative) said that the artist usually gets a 
$200,000 design fee. She also suggested that John 
Caldwell act as curator to help facilitate the 
implementation of Baumgarten's project. The 
Committee rejected both of these suggestions and 
stressed that this was a civic project, subject to 
equity of distribution and public scrutiny. Under 
these circumstances Lothar Baumgarten will be paid 
the same fee as the other participating artists. 

XI. November Meeting Date 

Since the next regularly scheduled meeting of the 
Visual Arts Committee would fall on November 21st, 
the day before Thanksgiving, the Committee 
considered whether or not to reschedule. It was 
decided that the meeting would be held as scheduled 
as long as there was a quorum. 

The meeting was adjourned at 6:30 p.m. 

Motions and Reports: 

1. Ordered: Approval of the Sept. 19, 1990 minutes 
Moved: Nancy Boas 

Approved: Unanimous 

2. Ordered: Approval of the green patina color for the 
Goddess of Democracy statue in Portsmith Square. 
Moved: Robert Larocca 

Approved: Unanimous 

3. Ordered: Approval of interim payment of $6,000 to 
Tim Collins and Reiko Goto for the design of an 
artwork for the San Andreas Water Treatment Plant. 
Moved: Amalia Mesa Baines 

Approved: Unanimous 

4. Ordered: A contract modification for Doug Hollis of 
up to $1,500 to cover material costs for the 
creation of a 1/1 scale model of the ceramic frit 
design for the north facade of the New Sheriff's 
Facility . 

Moved: Nancy Boas 



VACMIN 10/22/90sp Page - 9 



Approved: Unanimous 

5. Ordered: Approval of RFQ as edited for the artist 
to develop an arts master plan for the proposed new 
international terminal at the San Francisco Airport, 
Moved: Anne Healy 

Approved: Unanimous 

6. Ordered: Approval of the design of the Rainforest 
Mural Project proposed for the old firehouse at Oak 
and Divisidero (sponsored by the Rainforest Action 
Network and Earth Island Institute). 

Moved: Robert LaRocca 
Approved: Unanimous 

7. Ordered: Approval of exhibit proposed by David 
Miller for the Water Department at 425 Mason St. 
Moved: Robert LaRocca 

Approved: Unanimous 

Respectfully Submitted: 

Susan Pontious 
Curator 



VACMIN 10/22/90sp 



Page 



10 




SAN FRANCISCO ARTS COMMISSION GALLERY 

I 55 Grove Street, San Francisco, California 94 1 02 (415) 554-9682 



TENTATIVE EXHIBITION SCHEDULE - 1991 

1 . ) CHAIN REACTIO N VI 

Arts Commission Gallery Advisory Board and Staff 
invite artists to invite artists to exhibit. 

December 7, 1990 - January 25, 1991 

2. , NEO-MEQIEVALT.SM 

Artists working with subject matter or iconography 
from art history, 

} 
February 7 - March 22, 1990 

Suggested artists: 
Peter Edlund 
Christina Emmanuel 
Life Jensen 
Jeffrey Bauer 
Erica Dodenhoff 
John Pr iola 
Jess (?) 

3.) Two/Three person installation 

April 4 - May 18, 1990 

Suggested artists: Alan Rath/Dawn Fryling 

4.) PHOTOIFTCTION or PUBLIC DOMAIN: fabricated nhot og r aphs 
in conjunction with Photography 501c/3 photo fair 

May 30 - July 12, 1990 

Suggpsted artists: 
Chris Sullivan 
Gavin Flint 
Augusta Hug gin s-Mye rs 
Ann Chamberlain 

5.) tba/^w^ u>,% &AUU*- 

July 25 - August 30, 1990 

GALLERY CLOSED SEPTEMBER 3 - 20, 199(f 

EXPLORATION: CITY SITE 

Three projects in 1991; Pending LEF and/or NEA Grants; 

see attached prospectus. 



farucipattng Artists un alphabetical order): 

S;is ha I Me.xaniier 

LuiTV Andrews 
Herb Arnold 
Irene Belknap 

fcaren tiorbour 
Ann Chamberlain 
KranN Hole 
('awn Hryling 
i.eonie Guver 
Amyunner Gvifaduuii 
Amanda Ilendiicks 
f.Ji'yl ilOili'y 

v'^icric lloltuixn 
John Icfferys 

i'hric Inh^ricfin 

A nrfr^ K .reit 
I.esiVK I. earless 
kirk LeQaii t * 

Ethel Mann 

Start tviCFarltMid 
Will Miller 

Janice Mousigian 

Ingrid Muan 
Mark Oliver 
William Passarelli 
Iris Folos 
Anne Reineger 
Elizabeth Savcri 
Susan Schwartzenberg 
Stamlaus Sohoiewski 
jo^ie Summer? T 
Susan Menhens 
Pan ick Sweeny 
Eric Tie mens 
Elaine Wander 
Craig Watson 

Unrsin \T7joHI,. 

« \py. an <1r •? 1V««»mf 
j'^nn Zuner 



Advisory iioard/Stait & Chains of Artists: 

Adnenne l ; nzee i Chair i, CaryJ Henry, Andre fcreft, kegina Mouton 
Ann Carter, I eome '.iu v er, Patrick Sveenv, Stamlaus Sonolewski 
14. .note j.irK-soMn. ir>hn /.urier Frank Cole, Ethel Mann 

lilen rle|f"and U'llliam Passare|it ( h.ris jrilianson. Ins polos 

Louise Jordan Dawn frvUng, lames Mousigian, Will Miller 

I'ony ! ^h-H, Amanda Hendricks Larry Andrews, Arngunner Gylfadottir 

Caiherme Maechling, Elizabeth Saveri, Valerie Holraan, fine Tiemens 

Mark McCloud, Alexandra Weems, Su^an Stephens, Karen Borbour 

Armando Rascon, Lratg Watson, ingnd Muan, Hopie Windle 

Christine ' amb'yn, Sean Mrh'ariand, Mark Oliver 

Susan Werner, sashal Alexander, Herb Arnold, Irene Belknap 

Wayne 7,ebzda, Kirk LeClaire, Blaine Wander, Anne Reineger 

Anne Meissner (Director >, Ann Chamberlain, Susan Schwartzenberg, 

Kathleen fcolbai Program Coordinator;, John Jetlerys, Leslye Leaness, Josie 

Sommers 




SAN FRANCISCO ARTS COMMISSION GALLERY 

I 55 Grove Street, San Francisco, California 94 1 02 (415) 554-9682 

San Francisco Arts Commission Gallery 
EXPLORATION: CITY-SITE 

PROSPECTUS 

Exploration: City Site, a program of the San Francisco Arts Commission Gallery, was 
organized to provide opportunities for artists to enhance and activate an underdeveloped 
and highly visible urban site. Temporary site-generated works installed in the lot adjacent to 
the gallery demonstrate alternatives to traditional modes of public art and explore the 
viability of these art forms within the context of urban design. Each project explores the 
property's inherent qualities and establishes its potential as an outdoor art space. 

LOCATION of CITY-SITE 

Exploration: City-Site is located in the 6,000 square foot lot adjacent to the San Francisco 

Arts Commission Gallery, 155 Grove Street - Civic Center, San Francisco, across the 

street from City Hall. There is access on Ivy Street and the site is viewable from Grove 

Street. 

SELECTION PROCESS: 

► ' A three member selection panel will determine criteria for call for entries. The panel will 
review one page letters of interest that address an approach to treatment of the site, an 
outline budget, and slides of recent work from individual artists and artists who collaborate 
with other visual artists, performance artists, architects, and design professionals. Six 
individuals or teams will be selected as semi-finalists and awarded $100.00 per artist to 
develop proposals and detailed budgets. Three individuals or teams from the semi-finalists 
will be commissioned to execute installations/performances. Each will be given one month 
for installation. Each project to be on site for three months. 

JURY: (Tentative - three from the following) 
^Bavfe tf ffila nd rLars Lerup, Gyngy Laky, r 4hC to^ l ~ 

Rennie Pritikin, Jim Melchert, Larry Rinder p'ti /frj d.sco /%A£& 

ARTIST(S) FEES: Each project will be funded up to $5,000, that is: 
Artist's Honoraria $ 1 ,000 

Materials and Services $4,000 

ADDITIONAL GALLERY SUPPORT: $3,500/Project 

The Gallery will prepare and distribute printed announcements and press materials, and 
provide opening receptions, limited photographic documentation, and, if possible, intent 
and volunteer assistance. 



A project of the S.F. Arts Commission and Friends of the Arts. 

GALLERY HOURS: Tuesday-Friday, 11-5; Tluirs . , 1 1-0 : R-^ . , 12-5, 



TIMELINE: 

January 15, 1991 APPLICATION DEADLINE 

January 18, 1991 SELECTION OF 6 SEMI-FINALISTS 

February 1, 1991 SEMI-FINALIST PROPOSALS DUE 

February 5, 1991 3 PROPOSALS AWARDED CITY SITE COMMISSIONS 

March 15, 1991 Installation of Project #1 begins 

April/July 15, 1991 Project #1 on site 

July 16, 1991 Installation of Project #2 begins 

Aug/Nov., 1991 Project #2 on site 

Nov. 16, 1991 Installation of Project #3 begins 

Jan/Mar. 1992 Project #3 on site 

ELIGIBILITY 

Artists living within 100 miles of San Francisco. The San Francisco Arts Commission 

Gallery assures equal opportunity to all applicants. Performance and collaborations are 

encouraged. 

APPLICATION PROCESS 
Send the following materials: 

- Ten to Fifteen slides or vioeo tape of recent work, labeled with name, medium, size, 
and date of work. Artists collaborating, send documentation of each artist's work. 

- List of slides submitted with same information as above. 

- Resume/s. 

- Self-addressed stamped envelope for return of materials. 

Applications should be sent to: 

SAN FRANCISCO ARTS COMMISSION GALLERY 

155 Grove Street - Civic Center 

San Francisco, CA 94102 



A program of the San Francisco Arts Commission and Friends of the Arts, the Gallery is funded in part by 
the City and County of San Francisco, the California Arts Council, the Arts Commission's Public Art 
Fund, The George Frederick Jewett Foundation, Bank of America and other business and private 
contributions. 

f 

The Arts Commission 

of San Francisco 

Art Agnos, Mayor 

Barbara Sklar, President 

Nancy Boas, Vice-President 

Vernon Alley 

Stanley Eichelbaum 

Kim Fowler 

Daniel Genera 

Anne Healy 

John Krikcn 

Robert LaRocca 

Amalia Mesa-Bains 

Rai Y. Okamoto 

Dodic Rosckrans 

Claire N. Isaacs, Director 



Arts Commission Gallery 

Advisory Board and Staff 

Adricnne Fuzee, Chairman 

Ann Carter 

Bonnie Earls-Solari 

Hclaine V. Fortgang 

Glen 1 If I land 

Louise Jordan 

Tony Labat 

Catherine Macchling 

Mark McCloud 

Armando Rascon 

Christine Tamblyn 

Susan Wcmcr 

Wayne Zcbzda 

Anne Mcissncr, Director 

Kathleen Kolba, Program Coordinator 



SANDREA2.WPS4/12/90 



SAN ANDREAS WATER TREATMENT FACILITY EXPANSION, PHASE II 
ART ENRICHMENT PROGRAM 

Available budget: $72,000 

Program Constituency: 

1. City Engineering Staff 

2. National And International visitors and School 

Groups 



Program Goals: 

To provide art 
Treatment 

1 . Acknowledge 

"Flag Ship 
f aci 1 i ties 

2. Makes refer 

associated 

3. Works to vi 

and site. 

4. Respects th 

requi remen 

4. Is accessib 

personnel 

5. Focuses on 



enrichment for San Andreas Water 
Facility that: 

s the plant as the state-of-the-art 
of the City's Water Treatment 

ence to the activities and processes 

with water delivery to San Francisco, 
sually integrate with the architecture 

e operations and maintenance 

ts of the facility. 

le and visible to Water Department 

and the majority of visitors. 

local and/or minority artists. 






Program Objectives: 

1 . Concept Approval 

2. Artist Selection 

3. Project Selection 

Methods of Accomplishment: %1\Q GJT 

1. Through slide review, develop a sho r t — list of ^^W- 

cjQ artist(s")to be commissioned to o ubmi - t p ro posal s , •p't^ p^ff ■ 

*2~. — TiTrot*s&— cexie^L_of draw ings and models. select -a-^ 

final f<r<2 pn<^^ =: *r*T*7^7 = rVH=^-—% r, pr n g p g rrw^ogjig and with 
JMfftrt^ffom Facility users. 

Qua! if ications: 

1. Artistic excellence as evidenced by slide review of 

past work . 

2. Assessed ability to work conceptually with a 

complex site and to interact effectively with city 
agencies . 

3. Experience in and interest in working with Water. 



SAN ANDREAS WATER TREATMENT PLANT 
EXPANSION 82 
ART ENRICHMENT 

PROJECT SUMMARY 



In April of last year, the Art Enrichment coordinator met 
with members of the UEB and their subcontractors, CDM , to 
review the site and define the project guidelines. The 
guidelines were developed directly from discussions with 
the UEB, their subcontractors and the Arts Commission. 
(See enclosed). The artists were selected through a 
limited competition in which local artists who have had an 
interest and experience with water and water processes 
were invited to submit materials for a review by a 
selection panel . The panel consisted of members of the 
Visual Arts Committee and a representative of the UEB. 
From ten candidates, the panel selected Tim Collins and 
his wife Reiko Goto Collins because of their previous 
experiences, the beauty of their previous work and their 
ability to create a site-specific art work. 

Tim and Reiko Collins are under contract to study the 
whole water treatment site and process and to design an 
art work which "refers to the activities and processes 
associated with the delivery of water in San Francisco". 
Initially the artwork was to have acted as an educational 
experience for school children and was to have been 
integrated into the design plans of the second phase of 
expansion. However, following meetings with Water 
Department personnel and the project architect, the 
artists were made aware that these goals were not 
appropriate. The artists met with numerous staff members 
of the Water Department to identify a site and develop 
their concept, studying all aspects of the site and 
processes. Their final conclusion was that the best 
location for the artwork would be the filter gallery in 
the main administration building, because it would be the 
first stop for visitors to the site, it would be the 
easiest to maintain, and would set the tone for the visit 
to the rest of the site. 

Over a three month period, the artists developed a number 
of concepts which they then presented and discussed 
informally with the UEB, the Water Treatment Plant staff, 
the Public Art staff and the Visual Arts Committee. The 



SNAN. PS- twm 



result of these discussions was to eliminate three of the 
ideas and focus on the concept of a natural water- 
treatment system and a complete life cycle. 

Tim and Reiko realized that the Water Treatment Plant was 
just a small part of a huge and enormously complex system 
which has evolved over more than a century to become one 
of the most successful and forward-looking systems in the 
world. They realize that the San Andreas Water Treatment 
Plant is considered the 'flag-ship' of the system, as it 
encompasses state-of-the-art technology and exceeds 
national standards for safety and water quality. 

In addition, they became aware of the surroundings of the 
Treatment Plant, the 19,000 acre water shed area, a true 
wilderness uniquely located within a civic jurisdiction. 
Their concept developed out of this awareness of the 
interdependence of these two great systems, one man-made 
and one natural, both serving the Water Department's goal 
of providing water for the people of San Francisco. 

The art work which has been proposed is a symbolic 
statement of the Water Department's primary purpose, which 
is to provide water in order to provide life. Key to this 
goal is the necessity to provide clean water, which is the 
origin of the concept of creating a complete natural 
system including the growth, recycling and cleansing 
phases of the cycle. The system would utilize water 
cleansing plants such as bullrushes and water hyacinths, 
the fresh water being recycled to feed living elements, 
perhaps trees, fish and/or insects. 

The essence of this concept is not the plants themselves, 
or even the natural system, but the relationship between 
the natural system and the scientific principles and 
sophisticated technology in use at the Water Treatment 
Plant. If this connection is not made, the natural water 
system concept would be just a terrarium. It is the 
artists' goal and purpose to create that relationship, 
thus capturing history, nature, science and the future in 
one aesthetic event. 

The Visual Arts Committee, at it's September 19 meeting, 
approved the concept of an art work incorporating a 
natural system, having been given the understanding that, 
as the Treatment Plant staff had given it's approval, the 
approval of upper management was assured. The 
presentation to Water Department staff on September 27 was 



SNAN . PS- twm 



considered by the UEB to be a formality. However, 
progress on the project has come to a halt, and we are 
currently awaiting the opportunity to meet with the 
General Manager of the Water Department. 

In the next stage of the process, the artists would work 
with the Water Department staff to insure that their 
design meets all of the department's requirements for 
safety, accessibility and ease of maintenance. They would 
then present design documents for the approval of the 
Visual Arts Committee, the UEB and the Water Department. 
Following approval or modification, the artists would 
produce working drawings for approval of all agencies. 
Their drawings and documents must be certified by a 
licensed design professional. The artists or their 
subcontractors would then fabricate and install the art 
work at a time agreeable to the Water Department. 



SNAN.PS-twm 



PROGRESS REPORT: SKILLED MENTAL HEALTH NURSING FACILITY 

Date: Oct. 9, 1990 

Artists: Mildred Howard, George Gonzales, Hilda Shum 

Coordinator: Susan Pontious 

On Oct. 1, the artists made a presentation of their 
preliminary design concepts for the art enrichment of the 
Skilled Mental Health Nursing Facility to the project 
manager, Phyllis Harding, the project architect, Marianne 
Miller, landscape architect, Antonia Bava, and Tony Leung 
from the Bureau of Architecture. 

At the time of the presentation, all the artists' ideas 
seemed well received. However, the client expressed 
disappointment that nothing had been designed for the 
"grotto" area. The artists stated that they had chosen to 
focus on the areas that they felt would provide the most 
impact for the patients, and since the grotto was outside of 
the patient program area, they decided against that area as 
a potential site. 

» Tony Bava also expressed concern about the siting of the 
stone bench, rock sculptures and lanterns in the central 
courtyard areas. Since this area has already been designed, 
artists will have to coordinate with her closely to site 
these additions. 

In order to meet the archi tec ts/ landscape architects' 
deadlines, it would be necessary to determine by Oct. 15th 
the locations of any electrical outlets needed for the 
lanterns, the size of the gazebo, and the locations of the 
exterior artist designed paving tiles. 

The next day, Phyllis Harding called to state that 1) she 
was disappointed that the artists were not treating the 
grotto and 2) that she felt that the artists had 
concentrated too much attention to the landscape areas and 
not enough to the interior and that 3) no mention had made 
about programming for the adolescent areas. 

I contacted Hilda Shum, the artist charged with developing 
the interior of the building, regarding the concern about 
the art program there. She said that she and the other 
artists had been concentrating on developing the ideas for 
the exterior because the archi tect/ landscape architect's 
deadlines for these areas were Oct. 1st. The deadlines for 
the interior were later (Nov. 1st). 

^— ' Tt was agreed that for the next meeting, the program 

concepts for the interior and adolescent areas would be 
further developed. I slressed that whal I peireived as 



their first task was to develop a budget outline for the 
concepts that they had developed as one means of bringing 
the program into clearer focus. I suspected that they had 
proposed more than could be realized within the budget, and 
that developing some preliminary cost estimates would help 
to determine which proposals would be developed and at what 
scale. This preliminary budget should be completed before 
November 5th. 



^_ PROPOSAL FOR THE SKILLED MENTAL HEALTH NURSING FACILITY 

OUTLOOK: Our point of departure for designing an art plan for the Skilled Mental Health 
Nursing Facility was that art should be an expression of healing. For that reason, we have 
proposed works that celebrate the natural world, and use tactile, sensual materials that bring 
the spirit of nature throughout the facility. We have sought to propose projects that encourages 
patient interaction when possible, and yet are safe and will withstand heavy handling to become 
even more beautiful with age, polished with the patina of human touch. 

We have invoked the ancient Chinese 5 Element Theory which permeates Chinese thought and 
medicine (Air/Fire, Earth, Metal, Wood, Water) as an underlying philosophy that has guided 
our approach, as well as the practice of Feng Shui, which frequency uses reflective materials 
and prisms to enhance stagnant spaces and elevate the level of CHI, or life energy. 

LANDSCAPE ,yuJ^^Culy r^A h <v<l fY{ SisKooi/^ - 

i u.'-^eGAZEBO: The design of the pentagram shaped Gazebo will be the physical expression of these 
ideas. The roof of the gazebo will represent the directions associated with each of the elements, 
and the structure will incorporate the 5 elements to create an enviroment that is balanced and 
harmonious. It should be a place to meditate, be light filled, uncluttered and calming, as well as 
be functional for the gardening area. The gazebo would include: 

* The structure itself would be wood; when possible, we would 
use woods with exceptional wood grains with sensual, curving 

^ > lines. 

* Glass will be used extensively to draw in hatural light as well / fl 

as heat from sunlight. Prisms will also be incorporated to ,1 <.T^"-~^' ' ; -' •' <t -^-- 
interact with the natural properties of sunlight. In addition 

small light fixtures will be concealed in the roof beams to, i Sfr ■■ ^r--^ *<- 
create a soft glow. . . '., , j , 

: .Ov ' A beautiful wrought iron gate (metal) would provide an 
entrance (security gate) to the structure. The gate will 
incorporate the lotus blossom motif. The lotus has played an 
important role in both ancient Western and Eastern cultures; 
it is a symbol of purity and reflection because it grows out of 
mud and is not defiled. 

A Japanese water basin would be a sound sculpture that 
would bring the soothing, calming element of water. In Japan 
water basin is placed prominently just beyond the temple 
gates. The water basin signifies a time and place for reflection 
and purification before enlering a place of meditation. 

Wooden benches will double as storage boxes tor small tools 
and gloves. 



* The structure will use glass extensively so the gazebo can also 
be used as a greenhouse. 

* The surrounding area of the structure should provide a water 
source for the horticultural therapy area as well as for clean 

up. 

* Flooring for the gazebo can be slate (depending on cost) or 
poured contrete with wood dividers to act as expansion/ 
contracting lines and then sealed to protect the conrete as well 
as to give the flooring a finished look. 

LANTERNS: Lanterns in the courtyard and patios will use reflective materials (fire) to help 
draw sunlight during the day and provide night lighting. Some will also incorporate wind 
chimes (air). The forms shoud be interesting from above as patients from the 2nd and 3rd 
story decks will have an overhead view of the lanterns. 

* The lanterns can defined as functional artwork providing 
lighting for interest, pleasure and safety. They are markers 
to help define entries, gathering areas and/or reinforce the 
geometry of landscaping. 

* The lanterns can be simple stone sculptures that combine light, 
sound and texture. 

sight - lighting 
sound - wind chimes 
touch - stonework, carved, texured or polished 

* Possible approaches to create different lighting effects are: 

Concealed light source - for soft glow of light on wind chimes 

Visible source - (clear lamps) for more sparkle and 

decorative quality 

Mixture of etched and clear glass for combination of glow and sparkle. 

STONE BENCH: 

Firthstool: An Asylum Sanctuary. Literally, a stool of 
peace: among Anglo-Saxons, a stone chair with arms and 
low back, placed in church as a place of refuge and 

protection for anyone who might seek the privilege of 
sanctuary. 

A stone bench to be placed in the main courtyard that will incorporate different textures for a 
tactile experience. 

ASH URNS: Functional sculptures to double as ash urns 



STONE SCULPTURES: 1) Arrangements of 2 - 3 stones in the 
Zen Tradition 

2) Stone figuires created with patients as 
part of Artist-in-Residency project 

TILES AND PAVERS: Made from impressions or cast molds created by patients in the Artist- 
in-Residency Program. 



INTERIOR 

COLUMN MURALS: The columns in the day rooms are the focal point of the rooms that could 
be softened by painting murals or steciling patterns on them. Since the columns is a universal 
form, artists of varying ethnic backgrounds could be commissioned to design murals for the 
columns to create an identity for each floor. Decorative cast footings for the columns can be 
introduced to compliment the murals as an added finish. The carpet tile flooring pattern will be 
specified to compliment the dynamics of the columns. 

TILES AND PLASTER RELIEFS: Impressions or cast molds created by patients in the Artist 
in-Residency Program. These tiles can be mounted in the wall or around doorways to enhance 
the facilites. 

PURCHASED WORKS REPRESENTING MULTI-CULTURAL COMMUNITIES: Wall 
hangings, tapestries such as Hmong needlework or "quilt works", paintings, graphics etc. 
Specific sites identified at a later date. 



R.F.D. #1, Box 328 
Buskirk, New York 12028 
September 15, 1990 

Jill Manton 

Arts Commission of San Francisco 

25 Van Ness, Suite 240 

San Francisco, California 94102 

Dear Jill , \ 

I just wanted to keep you informed. DeLeuw Cather 
has just completed the "Pre-Final" construction drawings, 
is now working on the specifications, and feels they could 
go out to bid within six weeks. I am being asked to provide 
a list and ranking of which items can be "omitted" in case 
the project is over budget. These would be bid as "deduct 
items". I've been told this was Mr. Todd Cockburn's idea, 
so that "they could get the project into construction on 
schedule, without having to stop the whole enterprise while 
they went out to raise more money". We all know Mr. Cockburn's 
track record and the extent of his "concern" for the art 
project. Having already cut our budget by eighty per cent, 
and having done his best to shift the entire landscaping 
budget onto our now-meager art budget, I am not at all 
sanguine about the future of these "deduct alternates". 

As it isTnow, the project is being constructed out of 
the cheapest possible materials, and mostof the more interestinq 
features have been removed. If any more is "deducted" from 
this project you can also deduct my name, or not build it 
at all. 

I hope you will share my sentiments with the Arts 
Commission. 

Sincerely , 



r 



Patricia Johanson 



~v 



DeLEUW 
CATHEH 

De Leuw, Cather & Company . LETTER OF TRANSMITTAL 

fc-^cGT/ACCOUNT NO. ? M 9 b QO -x}\1 Q& W nATP ^Sf'Z&M&Gf? \2 j 15 90 

from JwO k^T /"foot*, fiB-M 

X>g Lbuuj, CATHeR ^ Co 

ATTENTION 



to M<& fA-TRIr./A *l6Hbui6lJ 

RFt> * I (&*f 323) 

BuSttlgK i Umu ya?k IZDZ8 

ATTENTION 

: A 



CousTRucjTioti Vu><54 , UuHPtfCz&t> A- 1 THrzu A-H , ?oz. ike A&we 

FPQjecrf . ~THtg- tomes Agg e-^Sg^TiALLY <^&HpL6X& , Bur Re'&Uiz.G. 

fiUAi CHecmu^ , Ce.c?ss Rep^^euciua . nqtiki^ Limits o^ rus Court act 

IVPZIA , AU£> tttiShJATiokii ot=- Add/ pepucr alt&zuat& b\p \tshs . 

Lug" lu(u- APPRGcixtg yoQ(K CoHHe^jS. Qid THS gJUOxSSgP gp/>eg €H€&r& 

of- TH6 Pum TXyZf; KlhJDtf IkJDitAte those Tr&M$ &f^ mojecr F&frTcp&s 

LoktCM Afc& £AUDlV>&T&Z &%- BiPP/tJq A* At>OITtY& OZ Oepuc-rw/6 f&tZT* 

6f-~(H& UjHol6, LQHLCH , \f- flieSBW FvUPltiG V&&S Mcf PgKMlT. £Ak\ BS 
CoHru*T&P LATe&, UJB LeAV& 7kt< T* /c^ Jud^msuT, &u T ITerMS sue* 
AS "tSunwFuy PA^>-u»^'/Aes ^:v e ,"RiBB^ ween. c^ 6 To m;mp. 

Iajs Look f&uqard To youK apvicg ^mp iMPt/r. 

M7H Much TWmjks^ akid Rgzwps 

- ^^LuU^il 



SIGNED 




JAMES D. JEFFERSON. President 
FRANK A. QUINN, Vice-President 
HENRY E. BERMAN, Commissioner 
SHARON L. BRETZ, Commissioner 
TED N. SOULIS, Commissioner 



&tp and &untp e/Q&an^ranciscc 



260 GOLDEN GATE AVENUE 

SAN FRANCISCO. CALIFORNIA. 9410? 

FAX NO. 929-1058 

TELEPHONE (415)861-8000 EXT. 307 

RAYMONO G. CONNORS. JR . Stcrftary 

October 11 , 1990 



Ms. Susan Pontiouf 
Arts Commission 
Visual Arts Committee 
25 Van Ness Avenue, #240 
San Francisco, CA 94102 

Dear Ms. Pontiouf: 

The San Francisco Fire Department owns a building at 1152 Oak 
Street, designated as Old Station 21. Currently, it is not an active 
fire station. 

On Tuesday, October 9, 1990, the Fire Commission heard a 
presentation from Messrs. Carl Anthony and Emmanuel Montoya (representing 
Earth Island Institute and Save the Rain Forest), whereby they sought 
permission to use the entire west wall of Old Station 21 (35' x 128') for 
a mural depicting the importance and struggle associated with the 
preservation of earth's rain forests. The colored mural was shown during 
the meeting. 

At the conclusion of the presentation, the Fire Commission, by a 
vote of 4-0, approved the exterior use of Old Station 21 's west wall for 
the colored mural herein discussed. 



Messrs. Anthony and Montoya will be contacting you to be placed on 
the Art Commission agenda for approval of their mural. 

Sincerely, 

'1 COMMISSION 




Raymond G. Connors 
Secretary 



RGC:lq 

cc: Carl Anthony 

Emmanuel Montoya 

Bruce Carolan, Deputy City Attorney 

Frederick F. Postel , Chief of Dept. 

James R. Lynch, Asst. Chief - S/Svcs. 




25 Van New Avenue 
Sate 240 

San Francisco. CA 94102 
(415) 554-9671 



VISUAL ARTS COMMITTEE MEETING 

Wednesday, November 14, 1990 

2PM. 

Moscone Center Room 264 

Fourth and Howard Streets 



A G E N D A 



MAYOR 
ArtAgnos 



OLD BUSINESS 



COMMISSIONERS 

Baibara Sktar 
President 

Nancy Boas 
Vice President 

Vernon Aley 
Stanley Etehelbaum 
Kim Fowler 
Daniel Genera 
ArmeHealy 
^nKrlken 



RalY.Okamoto 
Dodle Rosekrans 



ART ENRICHMENT: 



MOSCONE CENTER 



First Review of slides of candidates for Moscone Outdoor 
Project. Discussion of project goals, decision as to 
number of finalists, proposal fees and proposal 
requirements. Selection Panel: Members of the Visual 
Arts Committee, Helene Fried. Advisors: Germaine Wong, 
CAO's office; Ronette King, Gensler and Associates. Also, 
Bill Carney, Redevelopment Agency. 
( Tonia Macneil ) 

II. Adjournment 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Plonnhg Commission. 
Recreation and Park 
Commlulon 



DIRECTOR 
Claire N.Isaacs 



PROGRAMS 
Arts Festivals 
CMC Art Colectton 
CMC Design Review 
Neighborhood Arti 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sole-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



^inCommtolon Gallery 





25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



MINUTES FOR VISUAL ARTS COMMITTEE MEETING 
NOVEMBER 14, 1990 

A special meeting of the Visual Arts Committee was held on 
Wednesday, November 14, 1990 at 2pm at Moscone Center, 
Room 264, at 4th and Howard Streets. 



The meeting was called to order at 2:10 pm . 



MAYOR 
ArtAgnos 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
vice President 

Vemon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
AnneHealy 
John Krlken 
Robert F. LaRocca 
Amalla Mesa-Bains. Ph.D. 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Ubrary Commission. 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMC Art Collection 
CMC Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

State-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
■5J4-9682 



Roll: Commissioners Present 

Anne Healy-Chair 
Nancy Boas 
Robert LaRocca 

Staff preset) t : 

Tonia Macneil 
Jill Manton 
Susan Pontious 

ART ENRICHMENT: 



Commissioners Absent 
Amalia Mesa-Bains 



I . 



MOSCONE CENTER 



The Selection P 
consisting of m 
Helene Fried, g 
candidates for 
the panel were 
Ronette King fr 
from the Redeve 
overview of the 
that the genera 
sense of arriva 
secondarily, to 
followed concer 
appropriate num 
timel ine . 



anel for the Moscone 
embers of the Visual 
uest curator, met to 
the project. Also p 
Germaine Wong from t 
om Gensler and Assoc 
lopment Agency. Ton 

site and goals of t 
1 focus of the artwo 
1, a 'gateway' to Mo 

the Verba Buena Gar 
ning details of the 
ber of finalists, pr 



Outdoor Site , 
Arts Committee and 
begin reviewing 
resent as advisors to 
he CAO's Office, 
iates and Bill Carney 
ia Macneil gave a short 
he program, stating 
rk would be to create a 
scone Center and 
dens. A discussion 
site, the budget, the 
oposal requirements and 



The Committee generally agreed to select up to 5 finalists 
who would receive a briefing in early January and submit 
conceptual proposals consisting of drawings or a model, 
and a description including materials, budget, 
subcontractors and timeline. The proposals will be 
reviewed at the end of February. A budget for artists' 
fees will be finalized at the November 28 Visual Arts 
Committee meeting. 




VAC-MINI 1 . 14 -90 twin 



\':\.U,o 



A list of the candidates presented during the screening is 
attached . 

The Panel asked that several candidates be brought forward 

for further review at the second screening which is 

scheduled for December 12, 1990. Those were: 

Vito Acconci 

Andrea Blum, MICA-TV 

Michael Davis, Mineko Grimmer, Richard Turner, Richard 

Thomas 

R.M. Fischer 

Ida Kohlmeyer, Stephen Bingler t 

Paul Kos, Delaney and Cochran 

Andrew Leicester 

Clyde Lynds 

Daniel Martinez, Renee Patropoulis, Rodger White 

Mary Miss 

Eric Orr, Larry Bell, David Robinson 

Martha Schwartz 

Alexis Smith 

The meeting was adjourned at 5:40pm. 
Submitted , 



Tonia Macneil 

Curator and Coordinator 

Public Art Program 



VAC-MINI 1 . 14-90twm Page - 2 



TO BE REVIEWED 11/14 



ARTISTS. WDB 

Report #4 

Last First City State 

Acconci Vito New York NY 

Adams Dennis New York NY 

Artchwager Richard New York NY 

Berry Roger Clarksburg, CA 

Blum Andrea New York NY 

Boiger Peter Oakland CA 

Davis Michael San Pedro CA 

Dennis Donna New York NY , 

Dusenbury Walter Fly Creek New York 

Fahlen Charles Philadelphia, PA 

Fischer R.M. Los Angeles CA 

Fleischner Richard Providence RI 

Goldsmith Steven Salt Lake City UT 

Goulet Michel New York NY 

Greening Chuck Seattle, WA 

Hamrol Lloyd Los Angeles CA 

Highstein Jene New York NY 

Holt Nancy New York NY 

Kohlmeyer Ida Metairie LA 

Kos Paul San Francisco CA 

Leicester Andrew Minneapolis MN 

Lynds Clyde Wellington NJ 

Mackie Jack Seattle WA 

Marcheschi Cork San Francisco CA 

Margrill Anita Eugene OR 

Martinez Daniel Los Angeles CA 

Millar Robert Manhattan Beach CA 

Miss Mary New York NY 

Morris Robert New York NY 

Mullican Matt New York NY 

Nagasawa Nobuho Los Angeles CA 

Orr Eric Venice CA 

Petropoulos Renee Venice CA 

Pinto Jody New York NY 

Saret Alan New York NY 

Schafer David Brooklyn NY 

Schwartz Martha San Francisco, CA 

Simpson Buster Seattle WA 

Smith Alexis Los Angeles CA 

Snyder Kit-Yin New York NY 

Tacha Athena Oberlin Ohio 

Turner Richard Orange CA 

Linger Mary Anne New York City, NY 

Weldon Terry Roseland LA 

Wiley William Sausalito California 

Wong Al San Francisco CA 

Wong John Sausalito, CA 




van Ness Avenue 

te240 

i Francisco. CA 94102 

5)554-9671 



VISUAL ARTS COMMITTEE MEETING 

Wednesday, November 28, 1990 

2:30 p.m. 

Arts Commission Conference Room 

Suite 70, 25 Van Ness 



vyor 

Agnos 



Please note: the time schedule for agenda items is only 
an approximation. Agenda items may actually be heard 
earlier, or later, than estimated. The committee may also 
change the order in which items are heard. 



ifbara Sklar 
ssldent 



jrnon Alley 
3nley Elchelbaum 
Tt Fowler 
anlel Genera 
-ine Healy 
>hn Krlken 
jbert F. LaRocca 
malla Mesa-Bains. Ph.D. 



2:30 
2:35 



3:05 



A G E N D A 

I. Approval of Minutes: October 17, 1990 

II. Art Enrichment: San Andreas Water 
Treatment Plant; Tonia Macneil 
Visitors: John Mullane 

II. Collections: Debra Lehane 

Request from Recreation and Park Dept. to 
accept gift of a bronze fawn for Japanese 
Tea Garden. 



< OFFICIO MEMBERS 

■esldents of the 
ne Arts Museum 
brary Commission, 
annlng Commission, 
screation and Park 
ommlsslon 



IRECTOR 
lalre N. Isaacs 



3:10 IV. Gallery: Ann Meissner 

1. Request to approve exhibit "Dark Ages" 
for Feb. 7 - Mar. 23, 1991 

2. Request to approve proposed jurors and 
juror's role for "Exploration City 
Sites" installations. 



ROGRAMS 

rts Festivals 

Mc Art Collection 

Mc Design Review 

elghborhood Arts 

OPS Symphony Concerts 

ubllc Art Program 

rreet Artists licenses 



ite 430 

late-local Partnership 

15-554-9677 

.rtHouse 

15-554-9679 



irts Commission Gallery 
55 Grove Street 
15-554-9682 




3:30 V. Art Enrichment: Richmond Police Station 
Jill Man ton 

Presental Lon of proposals by Jaap Bongers 
and Mary Chomenko. Visitors: It. Thomas 
Suttmeier, Peter Wong, Jaap Bongers, Mary 
Chomenko . 

4:00 ___V1. Art Enrichment: Sunnydale Pump Station 

.1 i 1 1 Man ton 

Presentation of project materials by Harold 

Coffee, Clean Water Program. 

4:15 VII. Art. Enrichment: Library 

Jill Manton , Susan Pontious 

1 . Progress Report : Presentation of art I ts 

concept it.- 1 1 proposals < 



2. Request for approval of artists' final 
payment 

3 . Request for approval to enter into contract 
with artists for 2nd phase of design. 

4:45 VIII. Art Enrichment: Market Street Master Plan 
Jill Manton 
Progress Report 



5:00 



Art Enrichment: Moscone Center 

Tonia Macneil 



Progress Report: Discussion of budget; 
number of finalists. 



5:30 



Art Enrichment: Airport 
Susan Pontious 
Project update 



5:40 



Adjournment 




VISUAL ARTS COMMITTEE MEETING MINUTES 
NOVEMBER 28, 1990 

in Ness Avenue 

240 

ranctsco.CA 94102 

554-9671 Commissioner Healy called the meeting to order at 2:40 

p.m. 



3R 

gnos 



Roll: Commissioners present: 
Anne Healy, Chair 
Nancy Boas 
Robert LaRocca 



Staff present: 



3ra Sklar 
tent 

yBoos 

President 

yi Alley 
3y Elchelbaum 
owler 
}| Genera 
Heaty 
Krtken 

rt F. LaRocca 
k3 Mesa-Bains, Ph.D. 



FICIO MEMBERS 

lents of the 
krts Museum 
y Commission. 
Ing Commission, 
atlon and Park 
nlsslon 



TOR 

N. Isaacs 



RAMS 
istK/als 

\rt Collection 
)eslgn Review 
borhood Arts 
symphony Concerts 
Art Program 
Artists Licenses 



joca\ Partnership 
4-9677 



Margie O'Driscall 
Debra Lehane 
Jill Manton 
Tonia Macneil 
Susan Pontious 



Art Enrichment: San Andreas Water Treatment Plant 
John Mullane, General Manager of the Water Dept. 
attended the meeting to express his concerns 
regarding an art enrichment project at the San 
Andreas Water Treatment Plant, and to discuss whether 
or not funds generated by San Andreas could be used 
at another Water Department site. 

Jill Manton opened the discussion by giving some 
history and background on the project, and by saying 
that the purpose of this meeting was to establish an 
openess of communication regarding the art enrichment 
project. She reported that she discussed the 
possibility of using San Andreas art enrichment funds 
on another site with Kathryn 1'ennypacker, our City 
Attorney. The City Attorney stated that the intent 
of the ordinance clearly called for the art to be 
associated with the project that generated the funds. 

Tim Collins, one of the artists selected by the Art 
Commission for the project, made a presentation of 
the project concepts he and Reiko Goto had 
developed. They had come up with two major ideas: 1 ) 
a hydrophonic sculpture for the San Andreas site, and 



jmmlsslon Gallery 
ove Street 



VAC ll/28/90sp 



2) a book about the plant, the water processes 
carried out there, and the adjacent water shed area. 

John Mullane stressed that his concerns regarding the 
art enrichment project for San Andreas in no way 
reflected on the quality of the artists' proposal, 
but was based soley on his concerns regarding access 
so the San Andreas site, and his reluctance to place 
a major artwork in a location where very few people 
would see it. He proposed the Hetch Hetchy site as 
being more appropriate because of its relationship to 
the entire water system, or the possibility of 
locating Collins's and Goto's proposal at another 
water department site that had better public access. 

However, he expressed interest in the book idea since 
it could be distributed to a wide audience, thereby 
resolving his concerns about the limited audience at 
the San Andreas plant. In a discussion about whether 
or not the book would fulfill the requirements of the 
ordinance, Manton reported that it was the City 
Attorney's opinion that it would, since the book 
would be directly associated with the site, i.e. it 
would be directly about the link between the 
technological processes at the site and the pristine 
watershed area. 

Mullane said that the department already had a book 
on the history of the watershed, and asked if Collins 
and Reiko's book would compliment it. Collins 
replied that he had read the existing book and met 
with the man who had written it. The existing book 
was a history, while what he was proposing was 
something that explored the relationship of the 
technology to the wilderness watershed from a variety 
of perspectives. Tonia Macneil said that the book 
would lay out all the ways in which this relationship 
could be understood: from a engineering standpoint, 
ecological, social, etc. 

Commissioner Healy said that while she personally 
preferred the hydrophonic sculpture proposal, Mr. 
Mullane's preferences would be considered very 
seriously by the Committee. She said that Collins 
and Goto's book proposal would be an incredible tool 



Page 



VAC ll/28/90sp 



for linking the intellectual, conceptual and 
pragmatic processes of the plant. 

Mullane said that he would take the book idea back to 
his staff and get back to the committee with a 
response to this idea. 

He also asked that the Committee consider relocating 
the Joseph Slusky sculpture, which is currently 
installed at the Millbrae Water Facility. The 
Committee requested that this issue be put on the 
agenda for the next meeting. 

II. Approval of Minutes for Oct. 17, 1990 

Commissioner Healy moved to approve the minutes, 
Commissioner LaRocca seconded. It was so moved. 

III. Art Enrichment: Sunnydale Pump Station 
Harold Coffee, the General Manager for the San 
Francisco Clean Water Project presented the plans for 
the materials that will be used to execute Patricia 
Johanson's design for the Sunnydale Pump Station. 

Ribbon Worm: Air blown mortar; purple color 
integrated into the material. The form will be 
rounded so that it will have a 3-d imensi onal quality. 

Snake Head: Planted in plant materials designated 
by the artist. Landscape plans are not available 
yet. 

Snake Body: Plexi-paint will be used to achieve 
the red and yellow color. Life of the material is 
approximately 15 years. Commissioner LaRocca wanted 
to be sure that the artist was aware of the fact that 
there would be a line between the two colors. 

Petroglyph: Cast concrete. The depression would 
fill would water when the area was irrigated or it 
rained . 

Butterfly Pavilion: Armature created from steel pipes 
twisted and welded at each bend. The work will be 
done by the General Contractor. Construction 
documents have 3-d imens iona 1 coordinates. The 



Page 



VAC ll/28/90sp 



armature will be covered by mortar or fiberglass. 
The asphalt underneath will be aqua and Passion Vines 
and Blood Trumpet Vines will be planted to grow over 
the trellis. 

The design includes "vine pockets" and automatic 
irrigat ion . 

Coil and Tail: in the coil and tail areas, there is a 
change in materials from plexi-paint to gunite. The 
area becomes 3 -dimensional with a rounded surface 
that rises about 4 ft. There is a arch about 1 1/2' 
above the ground between the large coil and the tail 
coil . 

Commissioner LaRocca stressed that a mock-up should 
be made of the gunite procedure to ensure that the 
color matches the plexi-paint. 

Break between the two sections of the snake: Mr. 
Coffee explained that this is where the shell fish 
beds had originally been planned. The current design 
has been approved by the artist. 

Jill Manton stated that the artist had written the 
Commission a letter stating that further deletions in 
the project were not acceptable to the artist. Mr. 
Coffee asked what if the bids for the project came in 
over and above the available funds? It was stressed 
that the artist should be involved in all discussions 
and decisions regarding potential changes or 
deletions in her project due to budget concerns. 

Mr. Coffee stated that construction of the art 
project would be a separate bid from the general 
construction. Work on the project could begin as soon 
as the present contractor completed work 
(approximately 1 year from now). 

Commissioner Healy moved to approve the materials for 
the project contingent on the following: 

1 ) That the Committee and the artist see and 
approve all materials samples 



Page 



VAC ll/28/90sp 



2) That the Committee see and approve the landscape 
plans 

3) That the Committee see and approve a mock-up of 
the tail and arbor 

4) That the artist approves all material samples, 
construction documents, and is included in all 
discussions and decisions regarding any project 
deductions necessitated by funding shortages. 

5) That the artist supervise the construction to 
ensure the correct and sensitive interpretation 
of her work (especially in terms of the arbor 
and Ribbon Worm. 

Commissioner LaRocca seconded. It was so moved. 

IV. Collections: Gift of bronze fawn 

Debra Lehane reported that a gift of a bronze fawn, 
valued in excess of $5,000, had been made to the 
Department of Recreation and Parks from the estate of 
Michael Taylor. The department had identified a 
suitable site for the gift in the Japanese Tea 
Garden. 

Commissioner Boas moved to approve the gift for the 
Japanese Tea Garden. Commissioner LaRocca seconded. 
It was so moved. 

V. Gallery 

1. "Dark Ages" exhibit, planned for Feb. 7 - Mar. 
23, 1991. 

Ann Meissner presented the artists being 
proposed for an exhibit that had as its theme 
artists whose work made reference to the Middle 
Ages, either in iconography or subject matter. 
She presented the slides of the following 
artists: Peter Kdlund, Kit Cameron, Jeffrey 
Bauer, Aline Mare and Cristina Emmanual . 

Commissioner Boas suggested that Meissner also 
look at the work of James Rosen. 



Page 



VAC ll/28/90sp 



The Committee stressed that they also wanted to 
see visual representations of the actual work 
that the artists were proposing for the gallery. 

Commissioner Healy moved for approval of the 
exhibit subject to seeing the artist's 
proposals. Commissioner LaRocca seconded. It 
was so moved . 

2. Jurors for "Exploration City Sites" 

Ann reported that she had confirmation from two 
of her jurors for the program, Rene Pritikin and 
Gyongy Laky. She did not yet have confirmation 
from her third proposed juror, Paul Kos. 

She also reported that she was waiting to hear 
about the dispensation of grants submitted to 
L.E.F. Foundation and the National Endowment for 
the Arts. 



VI. Art Enrichment: Richmond Police Station 

Lt. Thomas Suttmeier and Peter Wong, the project 
architect, joined the Committee to review proposals 
for a floor piece submitted by Jaap Bongers and Mary 
Chomenko . 

Jaap Bongers submitted three design proposals for the 
central circle, as well as designs for a smaller 
piece at the entry way. The main piece would be 
executed in granite and bronze, and the small work in 
sandblasted granite. 

Mary Chomenko presented a design that she proposed to 
execute in bronze, ceramic tile, and marble. 

The Committee, Lt . Suttmeier, and Mr. Wong concurred 
in their selection of the "circle contained in a 
square" design submitted by Jaap Bongers. 

Commissioner Healy moved to accept the "circle in a 
square" design submitted by Jaap Bongers with the 
stipulation that the Committee see the design in the 
actual colors the artist is proposing. It was also 
suggested that the artist re-consider relationship 



Page - 6 



VAC ll/28/90sp 



between the circle and the square, and the 
relationship of the entire design to the surrounding 
tile. 

Commissioner Boas seconded. It was so moved. 

VII. Art Enrichment: Library 

Jill Manton made a report on the artists' conceptual 
design ideas for the library. 

Ann Hamilton: Ann Hamilton and Anne Chamberlain are 
proposing to treat the wall and floor surfaces of 
various rooms so as to create a context for each 
room. One idea being considered is to press text 
into a wall fresco so that it would read like an 
erased poem. It was suggested that the artists could 
meet with community groups to select the text. 

Commissioner Boas said that there is such a debate 
right now in the educational community regarding what 
constitutes literature, that community meetings on 
this could be a free for all. She suggested that 
perhaps it would be better if the artists selected 
the text. 

The artist had also experimented with writing on 
carbon paper and placing it between glass, which the 
architects loved. The artist is currently 
researching if there is a way to make this effect 
permanent . 

Other areas of consideration include the transition 
between the entry and the library. Commissioner 
LaRocca suggested that the artists might also 
consider something that goes out of the library to 
the walkway. 

Nayland Blake: Nayland Blake is considering the 
stairway as a sculptural form on which he will 
inscribe the names of literary greats. 

Alice Aycock: Alice Aycock is proposing a design for 
the pedestrian bridge that leads to the technology 
room. She is also designing a stairway and a lattice 
over the bridge. Jill Manton ami the architects 



I'.-u-t- ■ 



VAC ll/28/9Usp 



found the lattice too complicated and asked the 
artist to reconsider the design. 

Lothar Baumgarten: The artist has made a very 
preliminary proposal for exploring the nature of a 
book and putting it into the flooring. The 
architects liked the general concept, but it still 
needs a lot more work. 

The Committee asked about feed-back from the 
architects regarding Lothar Baumgarten's 
participation; Manton said she had written the 
artist at their request insisting that he had to be 
available to meet with them. She has not received a 
reply to her letter. 

Manton said that she felt that all the artists were 
working out on the project except for Lothar 
Baumgarten, whose participation was still 
problematic . 

Manton reported that preliminary cost estimates for 
the project would be ready by the end of December. 

She reported that the architects wanted Ann Hamilton 
to have a model made for her proposal by their model 
maker. The cost would be $1,000; Manton requested 
that the Art Commission pay for the model out of the 
art budget for the project. The Committee felt that 
the artist should pay for her own models out of her 
design fee. 

It was suggested that Rudy Nothenberg and Norm 
Karasick be invited to view the models before we 
negotiate for the final art enrichment budget. 
Manton reminded the Committee that we also wanted to 
reserve some funds to purchase work by multi-cultural 
artists . 

VIII. Art Enrichment: Market Street Master Plan 

The design team has requested an increase in the 
budget for producing the master plan brochure from 
$7,000 to $14,000. The Committee said that they 
would have to see what the team was proposing before 
they could consider this increase. 



Page - 8 



VAC ll/28/90sp 



Manton also requested that the Market Street Design 
Team's contracts be extended until the end of April, 
Commissioner Healy so moved; Commissioner LaRocca 
seconded. It was so moved. 



IX. Art Enrichment: Moscone 

Tonia Macneil reported t 
money for the project as 
She said that according 
figures, there is a cons 
funds actually available 
what had been originally 
understood that there wa 
funds designated for art 
according to Raymond Won 
of $802,487 available fo 
discrepancy of approxima 



Center 

hat there is not as much 

she had been led to believe, 
to the accountant's latest 
iderable discrepancy in the 

for Moscone II artwork and 

projected. She had 
s $850,0000 in unexpended 

enrichment alone. However, 
g's .figures, there is a total 
r expenditure. This leaves a 
tely $50,000. 



$224,000 has been allocated for the painting on the 
Large Wall. This leaves a total of $578,487 
available for the outdoor site, including design 
fees . 

She reviewed several scenario's regarding the cost of 
the design phase. It was agreed that the most cost 
effective plan was for the artists to make a single 
visit for briefing and interview. Their proposals 
would be presented by the staff at a later time. It 
was also agreed that the Committee would have a goal 
of selecting 3 teams as finalists; each team would be 
paid an honorarium of $3,500 plus transportation. 
Macneil said that she would also work with Germaine 
Wong to try and get transportation and the hotel 
rooms either donated or at a reduced rate. 

The Committee directed Macneil to inform the artists 
that there may be $50,000 less than originally 
thought for the project; Margie O'Driscoll should be 
informed of the discrepancy and Raymond Wong should 
track the expenditure of these funds immediately. 

Macneil reported that the scheduled Dec. 12th meeting 
conflicts with the Street Artists' meeting, so the 
next Moscone meeting wi 1 1 have to be scheduled 
earlier, (12 - 4 p.m.), or at. another location. 



Page 



VAC ll/28/90sp 



X. Art Enrichment: Airport 

Susan Pontious reported that the Planning Department 
has not yet reviewed the Environmental Impact Report, 
so we are still waiting to be able to proceed 
further. 

She spoke about her concern that the Airport's 
Director of Exhibitions, Elsa Cameron, be included in 
the planning process for the new terminal. She asked 
the Committee to affirm that they would like Elsa 
Cameron to participate as a team member in the 
planning process, to serve as a guest curator in the 
selection of the artist for the master plan, and that 
they would consider exploring the possible mutual 
benefit of some shared resources between our program 
and the airport exhibitions program. The Committee 
confirmed that they would like to have Elsa Cameron 
participate in these ways, and to develop a better 
working relationship between her program and ours. 

The meeting was adjourned at 6:15 p.m. 

ORDERS AND REPORTS: 

1. Ordered: Approval of the Oct. 17, 1990 minutes 
Moved: Commissioner Healy 

Approved: Unanimous 

2. Ordered: To approve the materials for Patricia 
Johanson's art enrichment project at the Sunnydale 
Pump Station contingent on the following: 

1 ) That the Committee and the artist see and 
approve all materials samples 

2 ) That the Committee see and approve the landscape 
plans 

3) That the Committee see and approve a mock-up of 
the tail and arbor 

4) That the artist approves all material samples, 
construction documents, and is included in all 



Page - 10 



VAC ll/28/90sp 



discussions and decisions regarding any project 
deductions necessitated by funding shortages. 

5) That the artist supervise the construction to 
ensure the correct and sensitive interpretation 
of her work (especially in terms of the arbor 
and Ribbon Worm. 

Moved: Commissioner Healy 
Approved: Unanimous 

3. Ordered: To approve a gift of a bronze fawn donated 
from the estate of Michael Taylor for the Japanese 
Tea Garden in Golden Gate Park. 

Moved: Commissioner Boas 
Approved: Unanimous 

4. Ordered: To approve the artists (Peter Edland, Kit 
Cameron, Jeffrey Bauer, Aline Mare and Cristina 
Emmanual ) proposed for an exhibition entitled "Dark 
Ages" at the San Francisco Art Commission Gallery 
contingent on the Visual Arts Committee reviewing 
their actual proposals for the show. 

Moved: Commissioner Healy 
Approved: Unanimous 

5. To accept the "circle in a square design" submitted 
for the Richmond Police Station by Jaap Bongers with 
the stipulation that the Visual Arts Committee see 
the design in the actual colors that the artist is 
proposing . 

Moved: Commissioner Healy 
Approved: Unanimous 



Submi tted 



5^ 



*5Wi 




Susan Pontious 

Curator 

Public Art Program 



Page - 1 1 



City and County 
of San Francisco 







25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



VISUAL ARTS COMMITTEE MEETING 



MAYOR 
ArtAgnos 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Kriken 
Robert F. LaRocca 
Amalla Mesa-Bains. Ph.D. 



II 



Wednesday, December 12, 1990 

2 PM 

Arts Commission Conference Room 

Suite 70, 25 Van Ness Avenue 

AGENDA 

ART ENRICHMENT: MOSCONE CENTER 

1. Report on status of Moscone "Large Wall" project, 
Selection of date for Review of Proposals. 

2. Discussion of goals and vision for the site. 

3. Review of new materials of approximately 30 
candidates . 

4. Review of candidates previously selected. 

5. Selection of finalists. 

ADJOURNMENT 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Colectlon 
CMC Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

Sate-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
^ 554-9662 




vac-AGNl 2 . 12-901 win 




25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 



Date: 

To: 

From: 



MEMO 



December o, 1990 



Members and Advisors of the Moscone 
Selection Panel, Jill Manton, and Visitors 
Tonia Macneil 



Re: 



MAYOR 
ArtAgnos 



December 12 Moscone Selection Panel Meeting 



COMMISSIONERS 

Barbara Sklar 

President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Eichelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Kriken 
Robert F. LaRocca 
Amalla Mesa-Bains. Ph.D. 



The second session of Selection Panel for the Moscone 
Exterior Project will meet as follows: 



When: 2 PM , promptly. WEDNESDAY, DECEMBER 12 
Where: 70 VAN NESS, SUITE 240 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission, 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 

^rts Festivals 

;Mc Art Collection 

;Mc Design Review 

Neighborhood Arts 

OPS Symphony Concerts 

'ubllc Art Program 

treet Artists Licenses 



ulte 430 

ate-Local Partnership 

15-554-9677 

rtHouse 

15-554-9679 



rts Commission Gallery 
a Grove Street 
5-554-9682 



In addition, those who would like to visit the "Large 
Wall" are invited to meet at the Turner Construction 
Company office trailer at 4th and Howard at 12 noon, 
exactly, for a special tour. A 12:30 pm reservation has 
also been made for anyone who wishes to enjoy lunch at the 
Cadillac Bar and Grill on Minna Street. Please R. S . V . P . 
to Rosa at 554-9671 by Tuesday at noon if you plan to 
attend either or both of these activities. 

VISUAL ARTS COMMITTEE MEETING 

Wednesday, December 12, 1990 

2 PM 

Arts Commission Conference Room 

Suite 70, 25 Van Ness Avenue 

AGENDA 



I. ART ENRICHMENT: MOSCONE CENTER 

1. Report on status of Moscone "Large Wall" 
Selection of date for Review of Proposals. 

2. Discussion of goals and vision for the site. 
Keview of new materials of approximated 30 
candidates . 

4. Review of candidates previous 

5. Selection of finalist 

I . ADJOURNMENT 




t wm-M! 



- 1 



City and County 
of San Francisco 




25 Van Ness Avenue 

Suite 240 

San Francisco. CA 94102 

(415)554-9671 

FAX #621-3868 



MINUTES FOR VISUAL ARTS COMMITTEE MEETING 
DECEMBER 12, 1990 

A special meeting of the Visual Arts Committee was held on 
Wednesday, December 12, 1990 at 2pm in the Arts Commission 
Conference Room, Suite 70, 25 Van Ness Avenue. 



The meeting was called to order at 2:20 pm. 



MAYOR 
Art Agnos 



COMMISSIONERS 

Barbara SWar 
President 



Roll: Commissioners Present 

Anne Healy-Chair 
Nancy Boas 
Robert LaRocca 
Amalia Mesa-Bains 



Staff Present: 



Vemon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Heaty 
John Kriken 
Robert F LaRocca 
Amalia Mesa-Bains. Ph.D. 
Ral Y. Okamoto 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



ACTING DIRECTOR 
Margie O'Drtscoll 



PROGRAMS 
Arts Festivals 
CMc Art Cotectlon 
CMC Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
Public Art Program 
Street Artists Licenses 



Suite 430 

State-Local Partnership 

415-554-9677 

ArtHouse 

415-554-9679 



Arts Commission Gallery 
155 Grove Street 
415-554-9682 




Tonia Macneil 
Jill Manton 



ART ENRICHMENT: 



MOSCONE CENTER 



The Selection Panel for the Moscone Exterior Site, 
consisting of the members of the Visual Arts Committee and 
Helene Fried, guest curator, met to continue reviewing 
candidates for the project. Also present as advisors were 
Germaine Wong from the CAO ' s office, and Ronette King from 
Gensler and Associates. 

Tonia Macneil reported that the list of candidates for the 
"Large Wall" now included 6 artists and that she expected 
to hear from Anne Kohs regarding Manuel Neri's 
availability. Members of the Committee had visited the 
Large Wall earlier in the day, and they requested that 
staff encourage the finalists to consider extending their 
treatment to the walls perpendicular to the Large Wall and 
above the escalators. 

On January 30, 1991 the Committee will meet to select the 
finalist for the Large Wall. 

Tonia Macneil and Germaine Wong gave a brief summary of 
their conversations with members of agencies who will be 
impacted by the outdoor art enrichment, including Dick 
Shaff, General Manager of Moscone Center and Jack 
Moerschbaecher of the San Francisco Convention and 



vac-MIN12. 12-90 



Page 



Visitors Department, Gordon Chester representing the 
Traffic Department, and John Marks of the Convention and 
Visitors Bureau. Notes of those meetings are on file. 

A brief discussion followed concerning the panel's image 
of appropriate artwork for the site. The following ideas 
were brought forward: 

The artwork should: 

-not impede the movement of traffic and pedestrians, 
-have a sense of gateway, of arrival, of welcome 
-distinguish Moscone from other buildings and activities 
-unify the site between the buildings yet relate to the 

other buildings in the area 
-not try to hide what Moscone is, either architecturally 

or programmatically 
-color should be integrated and necessary, not artificial 
-deal with the transformation from day to night; address 

lighting 
-perhaps address the horizontality of the building facades 

The Panel reviewed the work of 42 candidates and selected 
for further study: 

Stephen Antonakos and team 

Mark di Suvero 

Brad Goldberg 

Stuart Neilson and Ed Haag 

Charles Amirkhanian, Hodgetts and Fung 

Doug Hollis and team 

Site, Inc. 

Keith Sonnier 

Larry Sultan and team 

Jim Goldberg and team 

Vicki Scuri and team 



The panel agreed to further review these candidates as 
well as those selected at the November 14 meeting. 

The .meeting was adjourned at 6pm. 
Submitted, 




Tonia Macneil 1 - 
Curator, Public Art Program 



I N 12. 12-90 



Page - 2 




25 Van New Avenue 

Suite 240 

San Francisco. C A 94102 

(415)554-9671 



AGENDA 

VISUAL ARTS COMMITTEE 

Regular Meeting 

Wednesday, December 19, 1990 
3 p.m. 
25 Van Ness Ave.; Suite 70 



MAYOR 
ArtAgnos 



Please note: the time schedule for agenda items is only 
an approximation. Agenda items may actually be heard 
earlier, or later, than estimated. The Committee may also 
change the order in which items are heard. 



COMMISSIONERS 

Barbara Sklar 
President 

Nancy Boas 
Vice President 

Vernon Alley 
Stanley Elchelbaum 
Kim Fowler 
Daniel Genera 
Anne Healy 
John Krlken 
Robert F. LaRocca 
Amalla Mesa-Bains. Ph.[ 

u^y ni/nrn^^ 



3:00 I. Approval of Minutes 

A. November 14th Special Meeting 

B. November 28th Regular Meeting 

3:05 II. Art Enrichment: Library; Jill Manton 

Visitors: Nayland Blake, Ann Hamilton, Ann 

Chamberlain, James Freed, Cathy Simon, Jennifer 

Page, Russ Abel 

Presentation of artist proposals by: 

Nayland Blake 

Ann Hamilton and Ann Chamberlain 

Alice Aycock (presented by James Freed) 



EX OFFICIO MEMBERS 

Presidents of the 
Fine Arts Museum 
Library Commission. 
Planning Commission. 
Recreation and Park 
Commission 



DIRECTOR 
Claire N. Isaacs 



PROGRAMS 
Arts Festivals 
CMc Art Collection 
CMc Design Review 
Neighborhood Arts 
POPS Symphony Concerts 
=>ubllc Art Program 
Street Artists Licenses 



4:00 III. Collections: Debra Lehane 
Visitors: John Mullane 

Consideration of a request to relocate the Joe 
Slusky. 

4:15 IV. Art Enrichment: San Andreas II: Tonia Macneil 
Visitors: Tim Collins, Reiko Goto, John Mullane 

A. Request to approve conceptual design 
proposal by Tim Collins and Reiko Goto. 

B. Discussion of request by John Mullane for 
approval of 2nd art work. 

4:45 V. Gallery: Anne Meissner 

Presentation of exhibit proposals by Peter 
Edlund, Cristina Emmanual and Aline Mare for 
"Dark Ages" exhibit 



Art Enrichment: Moscone; Tonia Macneil 
Progress Report 



!u ite430 5:00 VI, 

jote-Locol Portnershlp 
115-554-9677 
\rtHouse 

115-554 9679 5:15 V I T . Art Enrichment: Market Street; Jill Manton 

Progress Report 

Vrts Commission Gallery 

M c l ^'.%82 ee 5:30 VIII. Art Enrichment: Sheriff's Facility 
Susan Pontious 




Request to extend the design contracts of Vicki 
Scuri, Doug Hollis, and Carl Cheng by 1 month. 

5:15 IX. Art Enrichment: Kezar Stadium; Susan Pontious 

A. Request to approve contract modification 
for Alan Fleming to change payment schedule 
from 1 final payment of $18,750 after the 
completion of the work to provide for an 
interim payment of $15,250 and a final 
payment of $3,500. 

B. Request to extend Alan Fleming's contract 
to April 15, 1991 . 

C. Request to approve reimbursing Alan Fleming 
$537.75 for Bureau of Building Inspection 
plan check. 

5:30 X. Art Enrichment: Mental Health Facility 
Susan Pontious 

1. Request to approve application to the 
California Arts Council for Artist-in- 
Residence grant of $9,000 

2. Request to approve AIR artist 
recommendation made by program planner 
Mildred Howard. 

6:00 Adjournment 



City and County of San Francisco 




Public Utilities Commission 
San Francisco Water Department 



December 3, 1990 



Ms. Margaret O'Driscoll 

Acting Director 

Arts Commission 

25 Van Ness, Suite 240 

San Francisco, CA 94102 

Dear Margie: 

Thanks for the opportunity to talk, to the Commissioners the other day. I, as 
you, were encouraged by the tenor of the discussions and the potential for 
reaching resolution. 

My discussions with various Department staff allow me to suggest that we 
should pursue the concept of the book as the vehicle for the Department 
meeting its requirements for the Percent for Art Ordinance at the San Andreas 
Filter Treatment Plant. In this regard, I would be willing to meet with the 
Commission at their convenience or at the December 19th meeting to finalize 
, v s approach. 

I would, however, like to suggest a slight deviation from the game plan. Of 
the total $72,000 alloted to the project, I would like to reserve $4,000 for 
the purchase of a picture described in my letter to Clare Issacs dated October 
10, 1990. This is a water color by Tony Foster entitled "Hetch Hetchy Valley" 
and would be an appropriate piece, at a minimal outlay, that could well be 
displayed in the PUC offices at 1155 Market Street. I am enclosing a photo of 
this piece for your review. 

On another subject, I appreciate your comment that Debra Lehane is continuing 
to work on identifying a new site for the Slusky sculpture and that it will be 
an agenda item at your December 19th meeting. 

Again, it was good to meet you and I look forward to seeing you in the future. 

Very truly yours, 

v^ _/ 

Jonn P. Mullane 
General Manager 

JPM:dyr J 

End. 



"U33 5X-40 



,, 923-2467 



425 Mason Street 



San Francisco, CA 94102 



VISUAL ARTS COMMITTEE AGENDA 



PROGRAM: Arts Commission Gallery 
Anne Meissner 



PROJECT: Exploration: City Site 



DESCRIPTION: LEF Foundation Grant 

The Gallery applied to the LEF Foundation for $15,000 
in support of Exploration: City Site's 1991 programs. 
We received an award of $7,500. The Foundation cited 
TIME ESTIMATE: the excellence of previous City Site projects, 
and Advisory Board members of Armando Pascon 
and Wayne Zehzda as factors favoring the grant, 
PRESENTER: Tr e LEF Foundation, however, was reluctant to 

award funds to a city agency. 



VISITORS: 



The Gallery will seek grants of $7,500 total 
from the Jewett Foundation and Bank of America 
to complete funding for 1991 Citv Site projects, 



MOTION: 






tj — £-vO 



(TvU 



tyjLu< 















MINUTES TO VISUAL ARTS COMMITTEE MEETING 
Wednesday, December 19, 1990 

The meeting was called Lo order at 3:01) p.m. 

► 

Commissioners present.: 

Anne Healy (Chair) 

Nancy Boas 

Robert l.aRocca 

Amalia Mesa-Baines (arrived during Agenda Item #11 

and left during Item #VT1 . ) 

Staff present : 

Margie O'Driscoll (through Agenda item #11 only) 
Jill Man ton 
Toriia Macne i 1 
Susan Pontious 

I. Approval of Minutes for Nov. 14th and 28th committee 
meetings . 

Commissioner Boas moved approval; seconded by 
Commissioner LaRocca. II was so moved. 

II. Art Enrichment: (library 

Jill Manton introduced the presentation of conceptual 
designs developed for t lie Library by Ann Hamilton, 
Nayland Blake, and Alice Aycock. She prefaced the 
presentation by saying thai I his presentation 
represented a progress report , not final designs. 
She said that as the artists continued to work, some 
ideas would have to be further refined, others 
edited. She said that as the designs were further 
refined, budget "figures could be developed, bill that 
we did not yet have t Ik-mi . 

Architect James Freed said thai Ihese designs are not 
"attached", but are integral Lo I he design of the 
bu i 1 d i ng . 

j A nn Ham i I ton : 

Ann Ham i 1 ton and her co I 1 aborator , Ann Chamberlain , 
maiie the first present. al ion. 

Ann Hamilton prefaced the presentation by saying lb.it 
their ideas evolved from the idea of treating the 
library surfaces so as to address what is I he 
interior of the book, and what is the nuture •>! 
readi ng and the i u I i mat j of t h<i I ac t i vi ty , ami Lo 



imply that onto the surface of the walls. The 
artists see their proposal as a journey from the 
phenomena and origins of text to its specific meaning 
and its expression in stories. 

The artists focused on three rooms, the Reading Room, 
t lie Scholar or Rare Books Room, and the Map Section. 
Hamilton said that they had been somewhat 
overambitious in trying to touch every surface. Two 
things link ideas themat ical ly , one is the notion of 
mapping and the notion of a journey through time, and 
the other is t lie system of language. There is also a 
sequence to what t lie artists have developed, and that 
evolves from origin of language as sound that gets 
translated into an expression in alphabet and written 
language . 

Main Entrance: The art ists are working with the 
Explorat.orium to see if the space could be 
acoustically focused to reflect back the voices and 
sounds of those entering the library. They propose 
that the curved surfaces of the ceiling vault and 
side vaults could focus the sound into the center of 
t lie space. Two alcoves on either side of the lobby 
could function as "whispering galleries" allowing 
people on opposite sides of the entry to carry on 
conversations. The intent of this aspect of the 
proposal is to provide a transition from the spoken 
word to the written word. 

They propose that the floors be gray or black slate. 
(James Freed interjected that they are currently 
scheduled to be terrazzo). A mapping system that 
diagrams the sound waves within the space would be 
sandblasted onto the floor, along with a pattern of 
pictographic language systems. A variety of 
different alphabets would be used. The artists are 
investigating ways that the alphabets could be 
oriented so that from various directions different 
multi-lingual messages could be decoded. 

The walls would have rubbings from typeset on vellum 
embedded into the plaster. It should convey the idea 
of layering story over story, the text not 
necessarily readable. The velum sheets would form a 
continuous surface. James Freed said that this would 
be a durable surface and it would be sealed. 



VAC12/19/90sp 



Page - 2 



Reading Room: The artists propose the idea of 
"opening a book" as the thematic concept for the 
room. The walls would use the same technique of 
embedding text in plaster. They would use as text 
transcripts from the library's collection of the oral 
histories of immigrant journeys to San Francisco. 
The artists are also exploring the idea of embedding 
actual typeset into tablets. The floor would be 
sandblasted with a radiating map pattern with an 
overlay of text, possibly Lhe opening lines of 
selected literature. 



Map Roo 

maps fr 
plaster 
be over 
a part 
partici 
The thr 
the rati 
place n 
Reading 
f ol lowi 
notion 
mapp ing 



m: The 
om the 1 
, which 
layed wi 
of commu 
pants ' u 
esho 1 ds 
iating 1 
ames der 

Room . 
ng that 
of diffe 



artists plan to have reproductions of 
ibrary's collection embedded into the 
would have an aqua tint. These would 
th personal "place maps" developed as 
nity workshops that would tap 
nderstanding of their neighborhood, 
of the room will be sandblasted with 
ines of the globe and inscribed with 
ived from the oral histories in the 
Commissioner Mesa-Baines said that 
notion of personal mapping is the 
rent cultural expressions of body 



Scholar's Room: The Scholar's Room contains rare or 
limited edition books and collections that have been 
donated to the library over the years. The artists 
have pared the idea of circulation and distribution, 
which is the central activity of a public library, 
with the idea of a book as a precious object and 
ownership and connoi sseu rshi p , which takes things out 
of circulation. The walls would be embedded with 
sepia prints of pages from books in the Grabhorne 
Collection. Forming a dense grid on the wall, these 
pages will become the background for engraved 
bookplates mounted in gilded f ramies and centered on 
each of the pages. 

Commissioner Boas suggested that a lot of the 
information that the artists are looking for in terms 
of personal histories 2 already exists in the librarj 
collection. She suggested that it might be better to 
use the material that exists, rather than to try to 
get it from community workshops. 



VACl2/19/90sp 



l'iig«- 



The artists said that part of their intent with the 
community workshops was to have people participate so 
that they were invested in the process and would have 
a feeling of ownership for the new library. 

Commissioner LaRocca asked about a connecting element 
that runs through the Library. Discussion ensued 
regarding the desirability of having a literal 
connecting element vs. t lie virtue of having the 
connections be more metaphorical . 

Atrium: The atrium floor would be sandblasted with 
an astrolabe, which was a medieval tool for mapping 
the movement of the stars. A second pattern would 
radiate from the center of the circle to define the 
edges of the floor space. As with the entrance ways, 
language systems would overlay these patterns. 

Commissioner Healy said that the ideas were all 
wonderful, if they could be all be done within the 
available budget. James Freed said that in terms of 
priorities, the areas that were most important to him 
were the entry, the atrium, and the reading room. 
Because of budgetary constraints, the Scholar's Room 
and Map Room may not materialize, but there would 
definitely be a reading room. It was suggested that 
perhaps the Reading Room could incorporate some of 
the ideas from the other rooms. 

Commissioner Boas asked James Freed how he felt about 
the use of sound in the entry. She said that she 
felt that one of the negatives of a library was the 
noise and chaos. She felt that any use of sound 
should not distract from the need for clarity and 
serenity . 

Freed said he liked the artists' use of sound. It 
wasn't just any sound, it was a "secret sound" that 
one had to discover for oneself. It was also brought 
up that the artists weren't introducing sound, they 
were just focusing the perception of the sound of 
people's voices in the entry. 

Commissioner Healy said that she likes the use of 
sound. She liked 1) the "whispering gallery" effect 

2) she has faith that the artists will not develop 
this idea in a way that is chaotic or distracting and 

3) she iikes the idea that the artists are proposing 



VAC12/19/90sp Page 



to use sound in a place that always tells you to be 
quiet . 

Commissioner Mesa-Baines concurred saying that it 
questions the centuries-old premise of what is a 
receptive space for learning and thinking. 

Commissioner Healy said that speaking for the 
Committee, she felt that all have a very positive 
reaction to Hamilton and Chamberlain's concepts and 
encouraged the artists to continue working to refine 
the i r ideas . 

Nayland Blake: 

Nayland Blake read a statement describing his 
proposal. In summary, he said that his proposal 
fuses a number of ideas from earlier libraries in an 
attempt to develop a monument that will express both 
the literary richness of the Bay Area and the 
diversity of its community. 

Much of the imagery used in the current main branch 
building is derived from the Bibliotec Sainte- 
Genevieve, designed by Labroust . Two of Labroust's 
ideas that were incorporated in the existing library 
are Labroust's innovative mix of materials -- stone 
and exposed metal -- and the use of inscribed names 
of famous authors on the exterior of the building in 
places that corresponded with the location of these 
author's books in the interior of the library. Thus 
the outside of the building became an index of its 
contents. Blake's proposal incorporates the use of 
both of these ideas. 

The proposed site for the work is the wall that 
stretches from level one to level five and forms the 
back wall for the building's main staircase. The 
work consists of two elements: a wall system of 
perforated metal and steel framing, and individual 
alabast.er lights each bearing the name of a noted 
author from a number of multi-cultura] literary 
traditions. The lights will be attached to the grid 
in places that correspond to the floor thai their 
works are on in the Library. 

Lights: Each Light is a metal Lamp bod) with an 
alabaster shade measuring sis by eighteen inches. On 
the reverse of the shade is silk-screened a name, so 
that, light, passing through the shade, reveals t In- 



VAC12/19/90sp l'.,ge - 5 



name. The lamps will be designed so that they can 
easily be removed for service, but are secured from 
t ampering . 

Support Wall: The wall would be composed of a grid 
of three foot by three foot perforated metal panels 
supported by framing of steel tubing. 

Names: The most important feature of the piece is 
the series of illuminated names placed on the wall. 
The wall is designed to hold eight hundred lamps at 
the outside limit. This proposal is for an initial 
list of two hundred names. These names would be 
selected at. a series of open hearings, after a period 
of community outreach through branch libraries, arts 
organizations and community centers. The names 
should be chosen with the following criteria in mind: 
1) the presence of the individual author's works in 
the library 2 ) the importance of the individuals 
within the literary and social history of the Bay 
Area. 3) their importance in the literatures of the 
world 4) the overall selection should reflect the 
diversity of cultures, communities and attitudes that 
have gone into the makeup of San Francisco's history 
and culture . 

Discussion ensued regarding the selection of the 
first 200 authors, and the quality of community 
choice, i.e. the selection of popular culture authors 
over authors of greater literary significance. The 
artist said that the stated criteria for selection, 
along with his belief that the community would take 
the selection very seriously, would probably ensure 
that the choices would be good ones. But, he said, 
lie would rather risk erring on the side of allowing 
people to have their voice in who represents them, 
rather than dictate those choices. 

Commissioner Ileal y asked if the names could be read 
from the street, and what the piece would look like 
in daytime. Blake showed some photographs of lights 
that were the inspiration for the ones that he will 
be designing to give an idea of what his would look 
like in daytime. He said that the names would be 
readable on the staircase (about 12' away). From a 
distance the piece would be atmospheric, a "light of 
knowledge" effect, active enough to illuminate the 
wall, but not to clutter it. 



VAC12/19/90sp Page 



Commissioner LaRocca asked if the lighting load would 
be problematic. The architects answered that would 
have to look into the lighting requirements. 

James Freed said he thought the proposal was a very 
good idea. He especially liked that the piece could 
be added to over the years. 



Commissioner Healy requested seeing a model or 
prototype of the lamps at the next presentation. 



I.othar Baumgarten : 



Very p 
presen 
the no 
soul o 
a type 
determ 
not ye 
but th 
for a 
be fur 
LaRocc 
very g 
said t 
the ga 



reli 
ted 
t i on 
f th 
case 
ined 
t ha 
at h 
work 
ther 
a ob 
ood 
hat 
tes . 



minary id 
by James 

of typog 

e word , a 

The ar 

where th 
d the opp 
e was com 
i ng meeti 

f leslied 
served th 
as a vert 
they were 



eas 
Free 
raph 
nd d 
chi t 
ese 
ortu 
ing 
ng, 
out 
at o 
ical 
1 oo 



from Lo 
d . Bau 
y and t 
e s i g 1 1 i n 
ects s a 
des i gns 
n i t y t o 
to New 
and the 
at that, 
ne of h 
piece , 
king at 



mgar 

he " 

g a 

id t 

mig 

wor 

York 

y ex 

t. i m 

i s d 

and 

inc 



Baumg 
ten is 
letter 
floor 
hat it 
ht go 
k with 

on Ja 
pec t h 
Co 
es i gns 

the a 
orpora 



arten were 
working with 
being the 
grid based on 

had not yet 
as they have 
the art ist , 
nuary 1 7 th 
is ideas to 
mmi ss i oner- 
would look 
rchi tects 
ting it into 



The architects said that there were also some 
opportunities on the exterior of the building that 
might work very well with some of Baumgarten ' s ideas 
as well . 

Some discussion ensued about, how the public, who were 
unfamiliar with how books were laid out, would decode 
the des i gns . 



The Committee expressed that 
to see what the artist, and a 
the nex t. month . 



they would be interested 
chi tects developed over 



Alice Aycock 

James Freed also made a progress report on Al i i 
Aycock's design. She had Intended to design the main 
bridge and adjacent staircase. She had proposed a 
very delicate, up and down dt-si^n For the bridge, but 
the structural engineer said il wouldn't work. She 
and the structural engineer Lalked, but couldn't 



VAC! 2/19/90sp 



Page 



resolve the problem. She is now looking for other 
sites. Her new proposal will be presented at the 
January meeting with Lothar Baumgarten ' s . 

Manton said that the January presentation would be 
the final conceptual design proposal presentation. 

Commissioner Healy , on behalf of the Committee, said 
that all the ideas presented were very good ideas, 
but were in need of refinement. 

Commissioner Boas asked if there would be any place 
in the library, perhaps the Reading Room, to install 
some of the Pan Pacific murals. The Architects said 
that there was not enough wall space; the walls were 
too short from floor to ceiling. Commissioner Mesa- 
Haines said that there was also another issue 
relating to the difficulty of introducing work from 
another time and place and relating it to the 
integrated artwork currently being proposed. 

III. Co] lections: Consideration of request to relocate 
Joe Slusky sculpture. 

A request had been made by John Mullane, General 
Manager of the Water Department, to relocate the Joe 
Slusky sculpture installed in 1984 at the Millbrae 
Water Treatment Facility. Mullane reported that he 
had written a letter to Claire Isaacs requesting 
relocation of the sculpture for the following 
reasons : 

1 . There is limited public access to the site 

2. The piece is a safety hazard because it had parts 

that projected beyond the base of the sculpture, 
and water department employees had repeatedly 
bumped into the sculpture. 

Jill Manton reported that Debra Lehane has written to 
other city departments advising them of the potential 
availability of the sculpture, but as yet a new site 
had not been identified. The artist has been 
contacted and he indicated that he would be willing 
to help supervise the move. The work was not 
designed to withstand installation outdoors and will 
have to be cut and unbolted in order to relocate it 



VAC12/19/90sp 



Page 



John Mullane said that the Water Department was 
willing to pay reasonable relocation costs. 

Commissioner Healy said that she would like the 
artist to rectify the base design when the work is 
moved . 

Commissioner Healy moved to relocate the Joe Slusky 
sculpture pending locating a new site and an 
acceptable budget for the cost of moving it. 
Commissioner LaRocca seconded. It was so moved. 

Art Enrichment: San Andreas Water Treatment Facility 

Tonia Macneil summarized what had transpired at the 
last Visual Arts Committee meeting (Nov. 28th, 1990) 
regarding the project. She said that at the last 
meeting, it had appeared that the artists' proposal 
for a book about the site would be a solution that 
would satisfy the concerns of the Water Department -- 
because the artwork would thus be available to the 
public -- and to the City Attorney, who said that the 
funds must be used for a project that is associated 
with the site. 

Macneil reported that John Mullane and his staff had 
considered the book proposal and had written a letter 
supporting that concept. He also requested that part 
of the Art Enrichment funds be used to purchase a 
painting for another office. 

Macneil summarized the written proposal submitted by 
Tim Collins and Reiko Goto. They are proposing a 
book thai would be specifically about the San Andreas 
site and the Crystal Springs watershed. She said 
that the idea for the book arose from the depth of 
the artists' research and the richness they 
discovered in the natural history, ecology, and 
technology that the site represented. The book would 
focus on the interface between the natural ecology 
and man-made technologies. It would not overlap the 
information in the existing Water Department 
publication. The artists propose working with a 
variety of consultants, Including naturalists, 
scientists and experts in publishing. 

In response to questions Prom Commissioner Mesa- 
Haines regarding the form of I he book, Jill Manton 
repl ied I ha I this would nol be a one-of-a-kind art 



VAC12/19/90s|. Page 



book, it would be published so that copies could be 
distributed to anyone who requested them. 

Mullane said that the Water Department's current 
publication is distributed to a wide audience, from 
"4th graders to visiting Finnish engineers". 
Commissioner Healy observed that it might be 
problematic to use the same book for different 
audiences. The Commissioners suggested that the 
artists might consider a book that serves a diverse 
audience and is engaging to children as well as 
adu Its. 

In response to a question from Commissioner Mesa- 
Raines, Macneil stated that while the artists would 
depend on others for technical aspects, the book 
would be their concept. 

Commissioner Healy moved to approve Tim Collins' and 
Reiko Goto's conceptual idea for a book, with the 
suggestion that the artists investigate different 
approaches appropriate to different audiences. 
Commissioner Mesa-Baines seconded. It was so moved. 

Commissioner Healy, in response to questions raised 
by John Mullane, assured him that there would be 
regular reviews of the project as it progressed. 

Commissioner LaRocca said that another idea that 
could be explored was that of making the book into a 
sculptural piece as well. 

Tonia Macneil raised John Mullane's request to use 
$4,000 of San Andreas II art enrichment funds to 
purchase a painting for the 1155 Market St. 
Administrative Office of the P.U.C. Macneil reminded 
the Committee of the City Attorney's opinion that 
funds should to used for the site that generated 
them . 

Commissioner Healy said that as much as she would 
like to accommodate Mr. Mullane in this matter, she 
felt responsible not only to the "letter of the law" 
but also that she did not want to establish a 
precedent for taking funds generated by one project 
and using them for another site. She said that this 
issue had already been discussed at the last meeting. 



VAC'12/19/90sp Page - 10 



Following continued discussion, John Mullane 
responded that he would not press the issue. 

Gallery; Dark Ages Exhibit 

As Anne Meissner was out of town, Susan Pontious 
presented the artists' proposals for the Dark Ages 
Exhibit in her stead. As per the Committee's 
request, more complete proposals were submitted by 
Aline Mare, Peter Edlund, and Cristina Emmanual. 

Pontious reported that in regard to the Aline Mare 
proposal, "Mother and Ch i 1 d/ 1 essness" , Ann Meissner 
had reported that her Advisory Committee is very 
committed to working with this artist as she develops 
this project, and would monitor the work in the 
studio before it is installed. Then, for the 
Committee's benefit, Pontious read an excerpt from 
the artist's proposal describing the work, "a 
triptych multi-media installation exploring the 
tensions of the abortion issue by placing the dilemma 
of modern woman between the archetypal images of the 
Madonna and the Whore". 

Commissioner Healy said that the problem with the 
Mare proposal was that it was very confused in its 
imagery. While the artist claims to be championing 
women and a pro-choice position, the imagery gave 
mixed messages. 

Commissioner Mesa-Haines said that she felt that the 
work was pandering to the desire to provoke. She 
felt that these were important issues, but that the 
artist was settling for a superficial way of 
addressing these problems; the solution was too 
simple • 

Commissioner Healy also felt that the imagery was 
trite and too distanced, women were again being 
presented as powerless gazee. She felt that the work 
didn't really address the show theme. She felt that 
the artist had some good concepts, but that they 
weren't pushed far enough. 

Pontious informed the Committee that they would have 
to make a decision on the piece now, as the show 
announcement was scheduled to go to press the next 
day. 



VAC12/19/90su 



Pagi 



I 1 



Both Commissioners Healy and Mesa-Baines expressed 
strong objections at being placed in the position of 
having to make a decision about an exhibit in such a 
short time-frame. Particularly, Mesa-Baines said, 
"when there is a history of a discrepancy between the 
gallery director and the view-point of the committee, 
in terms of the themes for the shows, the actual 
pieces created, and the Committee's role in 
supporting the gallery in such a short time frame 
that if any misunderstanding or miscommunication 
occurs, there isn't time to resolve it in a way that 
the Committee feels comfortable". 

The Committee reviewed the proposals and the work of 
the other artists proposed. These included 
installation proposals by Cristina Emmanual and Peter 
Edlund. Kit Cameron and .Jeffrey Bauer would be 
represented with selections from existing work 
(represented in slides). 

A discussion ensued regarding the revised theme of 
the show, "Dark Ages", which is to imply historic 
Lime in terms of themes and iconography, but is 
contemporary in terms of social commentary. The 
Committee considered the proposed artists' work as it 
related to this theme and felt that all but Aline 
Mare fit the stated intent of the show. 

Commissioner Mealy moved to approve proposals by 
Jeffrey Bauer, Kit Cameron, Peter Edlund and Cristina 
Emmanuel for the Dark Ages exhibit. Commissioner 
LaRocca seconded. It was so moved. 

Commissioner Mesa-Baines stressed that the Committee 
was not omitting Mare because of the theme of her 
work, but because it was not presented well. 

In summarizing the reasons for not approving the 
proposal by Aline Mare, the Committee listed the 
f ol low i ng : 

1. The artist's proposal does not fit the concept 
for the show, 

2. The proposed commissioned work was not presented 
in a professionaJ manner 



VAC12/19/90sp Page - 12 



3. The timeliness of the entire presentation was 

not made in a professional manner by the Gallery 
Director after repeated requests to allow the 
Committee enough time to make intelligent 
decisions regarding gallery exhibits. 

Commissioner Boas suggested that perhaps Ann Meissner 
develop some shows that could be "on the sidelines", 
and inserted when there was a problem with another 
proposed show that required more time to resolve. 

Commissioner Healy reiterated that she understands 
that the Gallery Director has to work with the 
Curatorial Advisory Committee, but that she also 
should be curating shows that could be inserted when 
problems arise. 

Art Enrichment: Moscone Center 

Tonia Macneil said that she wanted to confirm two 
dates with the Committee: 

1. January 15th, 2 p.m. in Suite 70 for the final 
review of the artists being considered for the 
outdoor site. 

2. January 30th, 12:00 noon, for review of the 
proposals for the "large wall". 

Macneil reported that she had spoken to Ann Kos, who 
thinks it is unlikely that Manual Neri will produce a 
proposal. (She will confirm this with him). This is 
because the materials (marble or- bronze), are too 
expensive to use on this scale within the available 
budget. Plaster and paint might be cons i de feci , but 
Macneil said that the opinion expressed earlier bj 
Debra Lehane was that these materials did n>>t have a 
suitable longevity. The Committee directed Macneil 
to consult further with the Collections Manager 
regarding these materials. She should then consult 
with Commissioner Healy before telling Manual Neri 
that the Commission would be interested in 
considering a proposal using plaster and paint. 

Commissioner Boas expressed concern that without 
Neri, there as no "classical" entry ami wondered if 
the Committee shouldn't consider adding some other 
artists as f inal ists . Commissioner Healy said thai 
the Committee had made I he finalist select ion and 
that they would proceed w i I li looking a i these 



VAC12/19/90sp 



Page 



I 3 



artists' proposals. If they didn't like these 
proposals, then they would open the process up again. 

In regard to the problem of Moscone funds 
discrepancy, staff reported that issue had not yet 
been resolved. Raymond Wong and Tonia Macneil were 
still tracing the use of the funds. This is a long 
process because it requires tracking the funds over 
11. years, 3 Directors, 4-5 staff people and half-a- 
dozen accountants. Jill Manton reported that the 
bookkeeping was so complicated that the problem could 
be a simple bookkeeping error, or a compounding of 
several errors. 

VII. Art Knrichment. : Market Street 

,J il 1 Manton reported that the Market Street team had 
reached a point where they could no longer work 
together and were beyond reconciliation. The team 
members have different philosophies of how to proceed 
with the Master Plan. 

Manton reported that the members had completed the 
research and data gathering phase, and that she had 
asked for a written submission from both artists. 

She was very disappointed in the document submitted 
by Topher Delaney and Andrea Cochran. She has 
responded with a written response outlining what 
other information should be included in their report. 
She has received no response to date. 

She reported that. Paul Kos has developed a series of 
ideas he calls "seeding"; these would be projects 
that he sees as setting the stage to call attention 
to Market Street and the public art program that will 
occur there. One idea was to use an image created 
by Peter Druegal on posters that would be posted in 
bus shelters with the question "What do you think is 
the highest form of public art?" with an address 
where the public could respond. (The Committee 
questioned whether or not the public would identify 
the image with a market). 

Commissioner Mesa-Baines left the meeting at this 
po int. 

Manton said that she had hoped that Delaney and 
Cochran would respond to her suggestions, Paul Kos 



VAC12/19/90sp 



Page - 14 



would continue in his vein, and then staff would edit 
and put the two versions together. She said when she 
discussed the idea with Margie O'Driscoll, Margie 
said no, the contract was with the three of them to 
produce one document, not two documents that the 
staff puts together. 

Margie O'Driscoll suggested that we take a portion of 
the team's fee and hire someone else to put it 
together. Commissioner LaRocca suggested that 
perhaps Jim Burns, who wrote the Market Street site 
profile, could be approached about doing this phase 
of work. 

In a related matter, Manton said that Doug Wright had 
agreed to use the Market Street Design Team in the 
design work being carried out on upper Market Street; 
such as median redesign, street furniture, etc. The 
contracts for the Design Team Members have been 
modified to include this scope of work, but now they 
can't work together. Manton raised the question of 
which members should the Commission ask to contribute 
to this phase of the project, or should the project 
be abandoned altogether? 

Commissioner Healy expressed the opinion that the 
Arts Commission should decline participation in this 
additional scope of work. Contracts should be 
terminated; and the material produced by the team 
members should be consolidated and edited by someone 
else (i.e. Jim Burns). She felt it would be a verj 
bad mistake to bifurcate the team and choose between 
them. Further discussion ensued regarding other 
possible solutions, but it was finally agreed that 
this was perhaps the best, solution, unless the team 
can resolve their differences in order to finish 
their contract. 

Manton also raised the issue of the fact that the 
design team contract called for producing a camera 
ready document. Since $15,000 has already been 
advanced, Manton asked if the Commission should trj 
to have some of these funds returned since t he team 
is not producing camera ready documents. It was 
agreed that this would be difficult and should not be 
pursued . 



VAC12/19/90sp 






In 



Manton said that she was not requesting a motion 
right now. She wanted to talk further with Kathryn 
Pennypacker and Margie O'Driscoll before making a 
final decision. 

VIII. Art Enrichment: New Sheriff's Facility 

Susan Pontious requested that the Committee approve 
modifying the contracts for Carl Cheng, Vicki Scuri , 
and Doug Hollis for 1 month, terminating on Jan. 
30th, 1991. Commissioner Boas so moved; Commissioner 
Mealy seconded. It was so moved. 

IX. Art Enrichment: Kezar Stadium 

Susan Pontious requested approval to modify the 
contract for Alan Fleming to: 

1 ) Change the payment schedule from 1 final payment 
of $18,750 to an interim payment of $15,250, with a 
final payment of $3,500. 

This is to allow the artist to pay of all the sub- 
contractors in time to have the full Arts Commission 
formally absolve the bonding company of liability at 
their April meeting; staff would then be able to 
request the 2nd bond and process the 2nd contract in 
time to meet the May completion deadline. Staff will 
require verification of all payments made with first 
interim payment of $18,750 before issuing the 2nd 
interim payment of $15,250. 

2) To extend Fleming's contract to April 15, 1991 

3) Reimburse Fleming for $537.75 for a Bureau of 
Building Inspection plan check. 

Commissioner Healy so moved. Commissioner LaRocca 
seconded. It was so moved. 

Agenda item #X , art enrichment for the Mental Health 
Facility, was held over until the next meeting. The 
meeting was adjourned at 6:00 p.m. 

ORDERS AND REPORTS: 

1. Ordered: Approval of Minutes for November 14th 

Special Meeting and November 28th Regular Meeting. 
Moved: Commissioner Boas 
Vote: Approved unanimously. 



VAC12/19/90sp Page - 16 



Ordered: Approval of relocation of the Joe Slusky 
sculpture from the Mil] brae Water Facility pending 
the identification of a new site and an acceptable 
budget for moving the work. 
Moved: Commissioner Healy 
Vote: Approved unanimously 

Ordered: Approval of the book concept for the San 

Andreas Water Treatment Facility proposed by Tim 

Collins and Heiko Goto, with the suggestion that the 

artists investigate different approaches to different 

aud iences . 

Moved: Commissioner- Healy 

Vote: Approved unanimously 

Ordered: Approval of proposals submitted by artists 
Kit Cameron, Peter Edlund, Cristina Emmanuel and 
Jeffrey Bauer for "Dark Ages" exhibit at the San 
Francisco Art Commission Gallery. 
Moved: Commissioner- Healy 
Vote: Unanimous 

Ordered: To extend contracts for Carl Cheng, Doug 

Hoi lis and Vicki Scuri for 1 month, terminating on 

Jan. 30th, 1991. 

Moved: Commissioner Boas 

Vote: Approved unanimously 

Ordered: To approve the following contract 
modifications for Alan Fleming: 1) to change payment 
schedule from one final payment of $18,750 made after 
completion of the work, to provide for an interim 
progress payment of $15,250, with a final payment of 
$3,500. 2)Fxtend Fleming's contract to April 15, 
1991; 3) Reimburse Alan Fleming $537.75 for 
Bureau of Building Inspection plan check. 
Moved: Commissioner Ileal y 
Vote: Approved unanimously 



Submitted b 



Jr7h^ ■> [JtrM/G 



Susan Pon I rous 



'£U^_^ 



VAC] 2/1 9/90sp 



Pagi 



I 7 



San Francisco 

Main Library 

Concept Proposal 

by Chamberlain and Hamilton 
December 19, 1990 



This proposal discusses the treatment of the main en- 
trance, the flooring of the central atrium and the north 
entrance, and three of the specialized reading and re- 
search rooms in the Main Library: the Map Room, the 
Scholar's Room and the Literature Reading Room. 



V > 4 



Page 1 



Introduction 

Voice is to time what hand writing is to space. 

Susan Stewart 

This proposal describes a methodology and philosophical orientation 
to the treatment of text as pattern, phenomena, and meaning embed- 
ded within the surfaces of the proposed San Francisco Public Library. 
Rubbed, marked, incised, stamped, inscribed, embossed, the walls in 
the proposed areas will create a palimpsest of texts. 

Our proposal proceeds from the idea that one locates oneself in text as 
one locates one's self on a map or within the spaces of a building. 
Our approach inverts the inside and outside of a book, displaying on 
public walls of the building the interior of the book. Text embedded 
into the walls and floors will form a pattern which circulates through- 
out the building and becomes increasingly individuated from the 
entrance way into the specialized reading rooms. This is a journey 
from the phenomena and origins of text to its specific meaning and its 
expression in stories. The process of compiling and layering of text 
which will be inscribed into the walls will involve consultation with 
the library staff and the participation of the diverse communities of 
San Francisco. 



Page 2 



The Entrance Ways: 

West Entrance (Larkin Street) 

The main entrance which faces City Hall, with its barrel vault and 
curved walls suggests ways the space could be acoustically focused so 
as to reflect back the voices and sounds of those entering the library. 
Like a giant mouth, this cave like entry way implies the beginnings of 
all expression in utterance and sound. Together, the curved surfaces 
of the ceiling vault and side vaults focus sound at the center of the 
space. Two alcoves or niches on either side of the lobby will have 
seats with acoustical mirrors behind them for focusing sound across 
the width of the lobby. Thus people can sit on opposite sides of the 
entry way carrying on conversations as the public enters and exits 
through the space. Conceptually, the focussing of the sound in this 
space centrally situates the individual and the individual voice. 

Wall treatment 

Creating a mottled and striated surface.the walls will be patterned 
with graphite rubbings taken from beds of metal type. The rubbings 
will be embedded in pigmented artisan plaster and installed as tablets 
covering the entire wall and ceiling surface of the main entrance. The 
rubbings, traces of language, are like the echoes of speech which will 
be reflected off the walls of the space. With one story rubbed over the 
next, the text becomes phenomena, a naturalized texture of cultural 
traces.( Sample B ) 

Floors 

Black or gray slate will be used as the floor material in the main en- 
trance way. Sandblasted onto this surface will be a mapping system 
which diagrams the sound waves within the space; and indicates the 



Page 3 



point where the sound waves focus in the middle of the space. An 
additional pattern of pictographic language systems will be sand- 
blasted over the sound map. 

Further research and modification of the sound properties of the space 
will occur in consultation with Paul Doherty at the Exploratorium. 



Page 4 



Reading Rooms 

Each of these principle rooms will reflect aspects of the tradition of 
marking and describing the world with alphabetic systems. The walls 
of these rooms will be surfaced with pigmented artisan plaster and 
will be treated as palimpsests: embedded with layers of text which 
relate to the individual function of each room. 

The Literature Reading Room 

When history separated itself from story, it started indulging in accu- 
mulation and facts. 

-Trinh T. Minh-ha 

While the entrance ways of the building reflect the emergence of a 
written language and the phenomena of sound, the reading rooms 
present the expression of voice in stories and oral histories. 
The walls will be surfaced in parchment colored plaster which has 
been embedded with book pages. (Sample C) These pages will be 
selected from transcriptions of the oral histories in the library's hold- 
ings which record the story of immigrant journeys to San Francisco. 
The proportion of the printed page also determines the scale for the 
ochre colored slate in the threshold area of the floor surface. A radiat- 
ing map pattern will be sandblasted into the slate. Overlaying this 
pattern will be a pattern of text that moves from the edge of the room 
towards the center and consists of beginning lines from selected litera- 
ture. A quote about memory and storytelling will be inscribed in the 
wide band on the perimeter of the ceiling. (Sample G) 

The Map Room 

The Map Room is a collection of descriptions of land which is Euro- 
pean in origin and is tied to systems of dominion and ownership. 

Page 5 



The thresholds, laid in an rose colored slate, will be sandblasted with 
the radiating lines of the globe and inscribed with place names derived 
from the oral histories in the Literature Reading Room. The walls will 
be treated with blue tinted plaster and will be embedded with repro- 
ductions on vellum of maps from the library's collection. Incised over 
these images will be hand drawn place maps. These place maps will 
be developed in conjunction with a mapping workshop that focuses on 
the libraries map collection. As part of the process and discussion, 
participants will be invited to create place maps that describe their 
experience of their neighborhood. The circular band on the perimeter 
of the ceiling will be marked with a scale pattern commonly found on 
the edge of maps. (Sample D & E) 

Scholar's Room 

The Scholar's Room is the jewel box or vault of the library, containing 
all the rare and limited edition books and collections which have been 
^onated to the library over the years. These books were the property 
of particular collectors whose passion was the acquisition of books, 
both as beautiful objects and as compilations of knowledge. 

The walls of the book room will be plaster embedded with sepia prints 
of pages from books in the Grabhome Collection which traces the 
history and development of the book. Forming a dense grid on the 
wall, these pages will become background for engraved bookplates 
mounted in gilded frames and centered on each of the pages. This 
juxtaposition creates a relationship between the book as precious 
object in a system of connoisseurship, and the book as an object of 
circulating information. (Sample F) 



Special Collection Rooms 

While at this time we are proposing a specific treatment for only three 

Page 6 



of the special collection rooms, we suggest that all of them be given a 
similar treatment of pigmented artisans plaster, and that the floors at 
the thresholds be laid in a slate that is incised in parallel bands of text 
with alphabetic patterns that relate to the holdings of each particular 
room. 



Page 7 



Floor Treatment 

A black slate floor incised with lines will be laid in the exterior foyer 
at this north street entrance. The floor pattern is based on a nautical 
map with the principle compass points centered under the revolving 
doors. Here the pattern reinforces the different points of access to the 
building. This floor may include incised text following the example 
of the Larkin Street Entrance. 

Atrium 

The atrium is a focus for circulation within the library, a point of 
convergence for the three entrance ways. As well as being the focus 
for circulation, the central atrium's glassed dome suggests an eye or 
celestial observatory. The floor below will be of green or black slate 
k "sNch has been sandblasted with the image of a giant astrolabe: a 
medieval tool for mapping the movement of the stars, and ascertaining 
the time of day. The astrolabe pattern radiates from the stairwell 
which becomes the observatory for the floor of the atrium. A second 
pattern radiates from the center of the circle to define the edges of the 
floor space. As with the entrance ways, language systems will overlay 
the star mapping systems, referring to circulation and transformation 
of language over time. ( Sample A) 



Page 8 



Further Development 

In the next phase of design development we will work more closely 
with the specific collections of the San Francisco Public Library and 
with special librarians in researching imagery as well as developing 
text for the floors and reading rooms. 
Community Involvement 

Essential in the development of the text is the involvement of writers 
from the community of the Bay Area. The following is the beginning 
of a list of writers and artists : 

Woman Native Other 

Woman Warrior 

Tripmaster Monkey 

Island 

Joy Luck Club 

BeeBop Ree Bop 

visual artist 

visual artist 

writer 

poet 

poet 

artist and writer 

painter working with petroglyphs 

poet 

linguist, writer 

Spider Woman's Grandmother 
In addition, we will consult with a number of individuals with particu- 
lar knowledge of the history of the Bay Area and specific aspects of 
California history 

historian 

Ohlone Way 

News from Native California 
Pat Ferrero film maker 



Trinh T. Minh-ha 
Maxine Hong Kingston 

Jenny Lim 
Amy Tan 
Xam Cartier 
Raymond Saunders 
Mildred Howard 
Maya Angelou 
David Henderson 
Jose" Montoya 
Amalia Mesa Bains 
Harry Fonsica 
Duane Bigeagle 
Julian Lang 
Paula Gunn Allen 



Gray Brechin 
Malcolm Margolin 



Page 9 



Budget 

Flooring 

The design of the floors is still at a very rudimentary stage. There are 
numerous technical aspects that need to be worked out with the archi- 
tects in order to give any kind of realistic estimate. 



3 


Reading Rooms 










Artisan Plaster 


$20/ square foot 


2000 s.f 


$40,000 




Copy prints for transfer to sepia 




$ 2,000 




Sepia Prints 






$ 5,000 




400 gold frames 






$ 8,000 




Slate flooring 


$25 square foot 


600 s. f. x 


3 $45,000 


\ 


Sand blasting 


$20 square foot 




$36,000 



Total $136,000 



Page 10 



Project for San Francisco Public Library, Main Branch 
Nayland Blake 

This project fuses a number of ideas, from earlier libraries in an attempt to 
develop a monument that will express both the literary richness of the Bay 
Area and the diversity of its community. 

The proposed site for this piece is the wall that stretches from level one to 
level five and forms the back wall for the building's main staircase It begins 
just above the main desk at the lower level and ends at the floor below the 
central rotunda's skylight 

Much of the imagery used in the current mam branch building is derived 
from the Bibliotec Sainte -Genevieve, designed by Labrouste. Labrouste's 
building is remarkable for a number of reasons, among them its innovative 
mixing of stone construction and exposed metal work. The design for the 
new library uses a similar approach to materials and this proposal attempts 
to work within those design concepts. Accordingly, the piece combines 
exposed metal elements, light and stone. 

The current main branch adapts another of Labroutse's ideas. Around the 
sides of both buildings are stone plaques that are inscribed with the names 
fc-% famous authors. In Labrouste's building, these names on the exterior are 
placed so that they correspond with the location of the specific authors 
works on the inside. Thus the outside of the building is the index of it's 
contents, echoing in its form the idea of the book This piece attempts to 
restore the names of the various authors to a similar function within the 
design of the new library. 



The piece consists of two elements: a wall system of perforated metal and 
steel framing, and and individual alabaster lights each bearing the name of a 
noted author(see illustration) The lights will be attached to the grid in 
places that correspond to the floor that their works are on in the library. 

1. The lights 

Each light is a metal lamp body with an alabaster shade measuring six by 
eighteen inches On the reverse of the shade is silkscreened a name, so that 
light, passing through the shade reveals the name Each lamp body houses a 
small fluorescent tube which provides the illumination The lights attach to 
■^fce support grid by means of two hooks located at the top of the lamp, and a 
^H^rew located at the bottom. They can be easily removed for service and 



■Repositioning but are secured from tampering. The lamps are powered by 
coiled cords which attach to power strips in the support walls. 

2. The Support wall. 

The wall is composed of a grid of three foot by three foot perforated metal 
panels supported by framing of steel tubing. On each floor, one section of the 
grid is hinged inward for service. At each floor is a section of wall that 
houses the electrical power. All of the lamps hanging in the vicinity of this 
section will be plugged into it. 

3. Names 

The most important feature of the piece is the series of illuminated names 
placed on the wall. The wall is designed to hold eight hundred lamps at the 
outside limit. This proposal is for an initial list of two hundred names. 
These names will be selected at series of open hearings, after a period of 
community outreach through branch libraries, arts organizations and 
community centers. The names should be chosen with the following criteria 
in mind: The presence of the individual author's works in the library. 2. The 
importance of the individuals within the literary and social history of the 
^•y^y Area. 3- Their importance in the literatures of the world. 4. The overall 
selection should reflect the diversity of cultures, communities and attitudes 
that have gone into the makeup of San Francisco's history and culture. This 
monument is intended to celebrate the Public Library as a locus for 
tolerance, achievement and cultural dialog, not to establish an exclusive 
canon of great authors. To this end every effort should be made to insure 
that the people of San Francisco determine the names to be used in the piece. 



December 19, 1990 

San Andreas Water Treatment Plant 
Proposal for Art Enrichment 

Tim and Reiko Goto ' 

We propose to create a book to document the San Andreas 
Water Treatment Facility and the Crystal Springs Watershed. 
The book would present the wilderness area, the treatment 
facility, the water's movement, it's role as habitat and 
resource and the people of the San Francisco Water 
Department who care for these sites and processes. 

We feel that the disparity between the natural and historic 
wonders of the watershed and the treatment facility could be 
wonderfully unified in a project of this sort. 

The document would be produced over an 18 month period by an 
artist/naturalist/scientist team, and would involve a number 
of outside consultants to provide the necessary expertise in 
„ k y k design and publishing. 

We make this proposal in response to the depth of 
information and excitement encountered upon interviewing 
various water department personnel such as Steve Shaw and 
Jack O'Shea as well as retired Water Department Manager Ed 
Fonseca. Outside the Watershed we have encountered Dr. John 
Monteverdi, Professor of Meteorology at San Francisco State 
University who has expressed interest in acting as a 
consultant. We also spent time with San Mateo County Ranger 
Charles Brock who sees the Watershed through the eyes of a 
geologist . 

What struck us in these interviews were the variety of ways 
of seeing and caring for the place, it's systems, and the 
processes which deliver water to the tap. We decided that 
the only way to adequately utilize this information would be 
in book form. This also solves the issue of audience, a 
book is a truly public and portable audience. 

This type of in-depth research and record of natural, 
historical and scientific phenomenon would best serve the 
present "aesthetic and educational" needs of the Water 
Treatment Facility. It would act as a public relations 
document and as such would foster the most interest and care 
for an important, resource, and for the people who act as 
♦ewards, caring and \> 1 .-inn i ni; for our city's water needs. 



* 



t would be a simple step beyond this to develop a series of 
prints, as an exhibit or -1 hIp show or video document which 
would offer an on-site (or traveling off-site) "con. !•■! 

view" of the Information In the bi 



City and County of San Francisco 



Public Utilities Commission 
San Francisco Water Department 



December 3, 1990 



Ms. Margaret O'Driscoll 

Acting Director 

Arts Commission 

25 Van Ness, Suite 240 

San Francisco, CA 94102 

Dear Margie: 

Thanks for the opportunity to talk to the Commissioners the other day. I, as 
you, were encouraged by the tenor of the discussions and the potential for 
reaching resolution. 

My discussions with various Department staff allow me to suggest that we 
should pursue the concept of the book as the vehicle for the Department 
meeting its requirements for the Percent for Art O rdinance at the San Andreas 
Filter Treatment Plant. In this regard, I would be willing to meet with the 
Commission at their convenience or at the December 19th meeting to finalize 
this approach. 

I would, however, like to suggest a slight deviation from the game plan. Of 
the total $72,000 alloted to the project, I would like to reserve $4,000 for 
the purchase of a picture described in my letter to Clare Issacs dated October 
10, 1990. This is a water color by Tony Foster entitled "Hetch Hetchy Valley" 
and would be an appropriate piece, at a minimal outlay, that could well be 
displayed in the PUC offices at 1155 Market Street. I am enclosing a photo of 
this piece for your review. 

On another subject, I appreciate your comment that Debra Lehane is continuing 
to work on identifying a new site for the Slusky sculpture and that it will be 
an agenda item at your December 19th meeting. 

Again, it was good to meet you and I look forward to seeing you in the future. 

Very truly yours, 

/A.A 

John P. Mul lane 
General Manager 



JPM:dyr 
Encl. 



0335X-40 



,4,5, 923-2467 



425 Mason Slreat 



San Francisco, CA 94102 



fate. /// 



MOTHER AND CHILD/LESSNESS 

MOTHER AML> CHILD/LESSNESS 

a proposal for Arts Commission Gallery 

Although the cult of the Virgin Mother is one of the most 
veneratedfln Western Culture, her attributes are a watered down com- 
posite of many more ancient versions of the Great Mother, including 
Demeter, Ishtar, Isis, Juno, Innana, and Maya. The Christian patri- 
archs of the Dark Ages sought to repress and control the adoration 
of female fecundity by denying its spiritual and physical signif- 
icance. The Church presented the doctrine of the Madonna's virginal 
motherhood as 'sacred' since they viewed the notion of earthly 
female sexuality as profane, diametrically creating a opposition 
between the virgin and the whore. 

Contemporary attitudes towards women have begun to reify this 
stereotyped dichotomy, condemning modern women who support the pro- 
choice position in relation to childbearing, as dangerous threats 
to the institutions of family and religion. Once again, the aura 
of fear and condemnation towards sexually active females who chole 
their personal freedom over the responsibities of motherhood, per- 
vades the culture as a modern translation of Dark Age thinking. 

My personal art work for the past two years has dealt consis- 
tently with issues of childbearing and abortion. This investigation 
began wth HOMUNCULUS, an audio-visual slide show shown at Camera- 
work, 1989. This piece explored notions of desire and loss in re- 
lation to the experience of abortion, utilizing the taboo imagery 
of the fetus as a religous and political icon of our time ( see slides 
#1 & #2). The work evolved into an installation at York Street 
Studio, (see slide #3), where I created a requiem-like space for 
the embryotic image. At the Lab (see slide #4), I presented 
HOMUNCULUS, DEAD OR ALIVE, a multi-media performance that incorp- 
orated live interaction with a nine year girl, projecting slides 
above an empty cradle with original soundtrack and imagery. My more 



: 



recent work has continued to explore fetal images in a series of 
installations that have created burial spaces, utilizing earthly 
elements such as dirt, tar, coal and salt (see slides #5-#7). 

MOTHER AND CHILD/LESSNESS is a triptych multi-media instal- 
lation exploring the tensions of the abortion issue by placing the 
dilemma of modern woman between the archetypal images of the 
Madonna and the Whore. Two gold framed b&w photo murals (approx- 
mately 4' by 5') placed against a scarlet wall, portray a woman 
engaged in the act of breastfeeding. In one panel, the draped 
Madonna nurses a healthy baby, while in the other, the same model, 
as an undraped seductresslike figure, holds a fetal image of an 
unborn baby in her arms. In the center space, a large photo mural 
( approximately 3' by f ) , of the same model, bare-breasted and 
babe-less, stares straight ahead, with a video monitor embedded in 
her arms. On the screen are looped images and roving texts ex- 
ploring the emotional states of loss and absence that accompany 
the abortion decision. On the floor infront of the triptych, is 
a mass of shattered glass, creating a physical and dangerous bar- 
rier to an audiences' intimate view. 

The piece attempts to create a metaphor for the dialetic 
presented by the current abortion guestion ^involving the polarity 
splits between body and spirit, the sacred and the profane, church 
and state, virgin and whore, mother and childless women. My own 
work has been - ^n TPriTtnnt ^ y -r;r>tnmi fted to an investigation of the 
female body, using technological tools to explore religous and 
medical metaphors as catalysts for memory and imagination. This 
piece re-affirms my pro-choice postion, positing the woman as 
nururer and destroyer, with the power to choose between the two. 
The contemporary woman KcrddlefSy an internalized machine of an 
imagined future , while the Dark Ages def initios of female . 
sexuality surround her and lie shattered on the floor. 



s* 



I ^ 




^s 

* 

r* 



v 



ALINE M ARE 5Q6 CAPP ST. S _ F 9 ^ J, J, p 

ION 



1987 



S.F. Art Institute : HFA in Performance/Video (current) 

Empire State College : BFA in Multi-Hedia Arts 

SUNY Buffalo, Center for Hedia Studies 

studied with Paik, the Vasulkas, & Hollis Frampton 

JORK EXPERIENCE 

1989 

Slide/Visual Design Assistant to Charles Rose for George Coates "RIGHTHIND" 

Video Production for Laura Faraboughs" "PRIVATE PROPERTY" 

Instructor: Video for SFAI Extension Class 
1988 

Slide Design & mounter for Slide Show (220 H.23rd St, NYC) 

Instructor: Video & Performance Workshops for ABC No Rio (356 Rivington St. NYC 

Visual design (film, video, & slide production) perforaing & directing 

in collaboration with Bradley Eros for EROTIC PSYCHE PRODUCTIONS, NYC (82-88 

Slide & Light Designer for Alchemical Theatre, NYC 
Production assistant for Swatch Hatch Commercials .NYC 
Instructor: Performing & Directing Workshop taught at 115 Essex St, NYC 
^^^ & AWARDS 

New Langton Interdisciplinary Grant, 1989 ! 

New York State Council for the Arts ( with Bradley Eros for PYROTECHNICS) 1989 
Special Features: Downtown NYC Film Festival, 1987 & 1986 
Artist-in Residence, Experimental TV, Owego N-Y. 1985-86 
New York State Council for the Arts (with Alchemical Theatre) 1986 
CAPS Award 1979 
■1ULTI -MEDIA PERFORMANCE /INSTALLATION 
1990 

Art Space Annex, S.F. 
York Street Studios, S.F. 

1989 

Homunculus', The Lab, Camerawork, ATA, S.F. 

1988 

Excess and Ecstasy, Cineaategue, S.F.* 

PYROTECHNICS, Ohio Theatre, N.Y. 

>. Night of the Living Flesh, Hilleniua. N.Y.«' 



Electranorphic, BACA & Downtown Film Festival N Y 
1986 

Transmissions Opera, Thoap- >:e Park, N.Y. 
Eye of the Psyclone, ABC No Rio, N.Y.* 
Unraveling ; . Show, Exit Art, N.Y. 



PERFORMER 

KEEPING BUSY (Robert Frank) 

BLUE TAPES (Vito Acconci) 

PARIS/CHARON (Meredith Monk) 

PANDERING TO THE MASSES (Richard Foreman) 
FILM AND VIDEO EXHIBITIONS 
1989 



1988 



1986 



1985 



ATA S.F. 

Naked Eye Cineaa, Anthology Film Archives * 

Excess & Ecstasy: Cinema tegue, S.F. 5 Year Retrospective of Erotic Psyche works 

Discourses of Desire, ATA, S.F. 

Video Refuse: CCAC, Eye Gallery, PCTV, Sincere Technologies, S.F. 

Berlin/New York: Hall walls, Buffalo, K.Y.* 

B.E.A.L.: ABC NO RIO, N.Y.* 

BACA Benefit, Brooklyn, N.Y. 
Naked Eye, Ouando N.Y. 
Avantarama, PS 122, N.Y.* 

Hetabody: Hallwalls, Buffalo, N.Y * 

Repulsiopn: Aesthetics of the Grotesque: Alternative Museum., N.Y. 

E.P. Collective for Living Cineaa, N.Y.* 



European tour of collected Erotic Psyche works 
Berlin: Kino Eiszeit, Arsenal 
Holland: Kijkaus and Montevideo 
Zurich: Xenix 
Paris: Scratch 
FILM/VIDEOGRAPHY 

ELECTRAMORPHIC, PYROTECHNICS. HYSTERY, PORE WAR, MUTABLE FIRE, 
CASSANDRA: SEETHING AT THE MODTH, PSYCHE PSYCHOSIS, DIRTY WORDS, 
DB, MONEY HONEY, AND MATER 

•EROTIC PSYCHE works produced in collaboration nitii Bradley Eros , distributed by Mystic Fire Video 




Emmanuel 



244Juanita Way 

San Francisco, CA 94127 

(415)664-7715 



Proposals for "Dark Ages" 

"If God Were A Woman" ("SI Dios fuera una mujer") 
work in progress 

mixed media: painting with sculpture on a pedestal 
see attached for slides and description 

"The Crucified Son" (series) 
also work in progress 
mixed media: painting with sculpture 
description + slides attached. 



"If God Were a Woman" ("Si Dios fuera una mujer") 

This not quite finished image (upper right hand corner, 
everything above the clouds) - is a tongue-in-cheek version 
of the cheap chromolithographs, distributed throughout Latin 
America via Italy, of the "Expulsion from the Garden of 
Eden". I have purposefully reproduced it in all its "kitsch" 
splendor - but turning God into a woman, who is saying "Don't 
leave ! " 

There is an accompanying small box piece that will be 
exhibited with the painting — turning it into a sort of 
installation. (see illustration). It is titled "....and 
they stayed!", which shows Eve lying in a hammock strung 
between two palm trees, eating a banana, while Adam is 
fanning her with a palm leaf. The background is of a lush 
paradise, and the box is lit inside. 







Cfa'yrf'^-T <-'i*ii+t+^t~~{' 



/*/> 



"The Crucified 



ser les: 



I am working on a series of images that have to do, as I 
understand it, with the suffering and potential redemption of 
men within Patriachy. To illustrate the theme, I am using 
two images of Christ (see illustrations) - the Christ with 
the crown of thorns represents what has been the suffering of 
men, and the image of the Sacred Heart represents the 
potential in men of the "compassionate heart" - a sort of 
healing image. 

My initial inspiration for this series had to do with my own 
sons, and their concerns and struggles - but :i L is also 
extended to all men who have had to repress the heart 
consc i ousness. 

There are appro:: imately five or si;: images in total - four of 
which I am currently working on. The series is comprised of 
this painting (in process) - a sculptural piece, and the rest 
are collages in a box frame. In some of the collages, there 
|k -eferences to dead soldiers on a desert battlefield (this 
1 aea was conceived by me a few years ago, ever since I saw a 
photo of a lone soldier lying dead in the Sinai Desert, but 
it has since become very timely!) 





/ f >~7yf?>+. c+* **~~~<f ' ?# 



Cristina Emmanuel 244 juamta way 

^^b. San Francisco, CA 94127 

^^^ (415)664-7715 



EXHIBITIONS: 



ONE-PERSON EXHIBITIONS: 



Evocando el Parafso/ Evoking Paradise 
Galerla de la Raza, San Francisco, CA. 1 989 

Altares y Secretos/Altars and Secrets 

Art Students League, San Juan, Puerto Rico, 1986 

Galerfa Esplral, Hato Rey, P.R., 1986. 



SELECTED GROUP SHOWS: 

Ceremony of Memory: New Expressions In Spirituality 
Among Contemporary Hispanic Artists 

National Travelling Exhibit of the Center for Contemporary Arts 
Santa Fe, New Mexico, 1989-1991. 

Cajas: Containers of Remembrance and Belief 

The Mexican Museum, San Francisco, CA., 1988. 

La Cruz: Spiritual Source, Galerla de la Raza, San Francisco, CA., 1988. 

Professor's Group Exhibition, Art Student's League, San Juan, P.R., 1 987. 

Galerfa Botello, (Semana de la Mujer), San Juan, P.R., 1987, 1985. 

Galerla Botello, (Semana del Arte en Plaza). Plaza Las Americas, San Juan, P.R. 1985. 

Galerfa del Municlplo de San Juan, P.R., 1985. 

Galerla Botello, (Semana del Arte en Plaza), 1985. 

Nueve Mujeres en el Dibujo, Galerla Espiral, Hato Rey, P.R., 1984. 

Inter American University, Arecibo Campus, P.R., 1 984. 

Galerla Botello, (Mujeres Artistas), Plaza Las Americas, San Juan, P.R., 1984. 

Certamen Anual, Ateneo Puertorriqueno, San Juan, P.R., 1984. 

University of Puerto Rico, Humacao, 1983. 

Primer Sal6n Puertorriqueno del Dibujo, 

Institutode Culture Puertorriqueno, San Juan, P.R., 1983. 



PRIZES & DISTINCTIONS: 



Awards In the Visual Arts (AVA) Nominee, 1989 

The Southeastern Center for Contemporary Art (SECCA). 

First prize in drawing, Annual Contest of the Ateneo PuertorriqueiK), 
San Juan, PR., 1984. 

President, Puerto Rican Association of Women Artists, 1984-1985. 



Crlsllna Emmanuel 
Resume, Page 2 



SELECTED BIBLIOGRAPHY: 



Benrtez, Marimar, Para Simbolizar la Realldad, 
El Reportero, San Juan, P.R., April 19, 1986, p.23. 

Cherson, Samuel, Los Altares no tan Secretos de Cristina Emmanuel, 

("The Not-So-Secret Altars of Cristina Emmanuel"), El Nuevo D(a, June 28, 1986, P.59. 

Cherson, Samuel, Dibujos de Rebeli6n Controlada, 

Plastica Magazine, Art Student's League of San Juan, P.R. , Spring Edition, 1 985. 

Goldman, Shifra, "Mujeres de California: Latin American Women Artists", 
in Yesterday & Tomorrow: California Women Artists. 
Ed. Sylvia Moore. Midmarch Arts Press, N.Y., 1989, p. 222. 

Mesa-Bains, Amalia, Evocando el Paralso: Reflections on the Works 
of Cristina Emmanuel. Artist Monograph Series, #4, 
Galerfa de la Raza, San Francisco, CA, 1989. 

Mesa-Bains, Amalia, "Contemporary Chicano & Latino Art", 
in Visions, Art Quarterly, Fall 1989, pp 14-19. 

Nolla, Olga, Las Plntoras Ayer y Hoy ("Women Painters, Past and Present"), 
El Nuevo Dfa, March 6, 1986, pps, 65-68. 

Rodriguez, Myrna, Cristina Emmanuel Presents a Cultural Assemblage, 

The San Juan Star, P.R., April 12, 1986, p. 19. 

Tlo, Teresa, Sincretismo en la obra de Cristina Emmanuel, El Mundo, March 27, 1986, p. 32. 

Valle, Norma, SI, de AdultoSe Puede Aprender a Dibujar Bien, 

("Yes, as an adult you can learn to draw well"), El Nuevo Dia, Feb. 8, 1983, pps. 33-35 



RELATED WORK EXPERIENCE: 



Museum Artist, The Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, 
San Francisco, CA., January, 1 988 to Present. 

Professor, Drawing & Painting, Art Student's Leauge of San Juan, Puerto Rico, 1981-1987. 

Consultant, Advisory Committee, 

Social Studies & History Supplements: The Contribution of Women 
Project of the Commission for tne Improvement of Women's Rights (PR) 
and the Social Science Research Center, Univ. of Puerto Rico, 1979-80. 

Director, Cultural Center for Hispanic Community, (Areyto), 
Inquilinos Boricuasen Acci6n, Inc., Boston, MA, 1972-76. 

Committee Member representing Hispanic Community, Festival Bostonian, 
Mayor's Office of Cultural Affairs, Boston City Hall, 1975. 

Advisory Board member, multicultural exhibit, Meeting Ground, 
Children's Museum of Boston, MA, 1977. 

Teacher, Comunidad Educativa para Nihos, San Juan, Puerto Rico, 1972. 

Art Professor, Puerto Rico Junior College, RloPiedras, P.R., 1970-71. 

Art Teacher, K-8, Colegio de Hostos, RloPiedras, P.R., 1969-70. 

Private Art Classes, 1969-73 



('risllnn Emmanuel 
JicMime, Page 3 



SELECTED CONFERENCES/WORKSHOPS: 



EDUCATION: 



Panelist, "Sources of a Distinct Majority", Symposium, 
San Francisco Art Institute, October, 1989. 

Lecturer & Panel Member, "The Teaching of Art in Puerto Rico", 
Seminar of Art Student's League for public and private school teachers 
of the San Juan area, 1 983. 

Lead Speaker, "Metaphor, Symbol & the Human Mind", 

Symposium-workshop on Audio-visual Media, Univ. of Puerto Rico Medical School, 1 983. 

Panel participant, "Amigos de Jung" (Friends of Jung), "Individuation & Creativity", 
Center for Advanced Studies of Puerto Rico & The Caribbean, San Juan, P.R., 1983. 

Conference, "Children's Art as a Mirror of Their Interior Life", 
Art Student's League, San Juan, P.R., 1981 . 

Conference, "Religious Imagery and Women in Taino Indian Culture", 
Seminar on "Women in the Caribbean", Fall semester, Univ. of Puerto Rico, 
Social Sciences Faculty, 1980. 

Three Conferences, "Symbol, Myth and Rite In TaJno Indian Culture", 
Institute for Integral Development, Sarrturce, P.R., 1979. 

Workshop Leader, "Creativity", Institute for Integral Development, Sarrturce, P.R., 1978. 



Vermont College Graduate Program, Montepelier.VT, 
Degree Program for M.A., Art and Anthropology, 1981-82. 

Goddard College, Plainfield, VT, 

B.A. Program, Art and Anthropology, 1975-79. 

Boston Museum School of Fine Arts, Boston, MA, 
Major in Painting, 1952-53. 

Massachusetts College of Art, 1951-52. 



^^^ Edlund 

Httist's statement 

The last ten years have seen two staggering phenomena: AIDS/ and the 
mass-marketing of Fundamental religious views. The puritanical doc- 
trine of some religious leaders openly condemned any alternative 
lifestyle, particularly that of Gays and Lesbians, which veered from 
the "norm" of the American family. Vocal conservatives even went as 
far as to say that AIDS was divine retribution, or punishment, against 
those who engaged in "sinful activities." This finger-pointing was 
across the board, coming from the Vatican and prominent Protestant 
and Jewish leaders. This uncompassionate approach to a serious world 
problem is likened to a return to the "Dark Ages," a time when humanism 
took a backseat to fear and superstition, and persecution was the set 
standard for dealing with ideological differences. 

My installation exposes this revival of fear and superstition in 
allegorical terms, using painted imagery based upon a piece of the 
^^_ -udgment by the 15th century painter Hans Memling and recent 
news articles. In a Brechtian approach, the triptych illustrates 
the bigotry: the "saved" desecrating the Names Project Quilt and 
burning the Gay flag on their way to Heaven; the "damned" eternally 
condemned to the agonies of a Boschian hell where people's skin is 
covered in KS lesions and lungs explode forth from bodies. All the 
imagery is painted in the style of 15th century Flanders and is set 
into a wooden retable cabinet measuring approximately 36" square. 
The "religious" icon is placed at one end of a large pavillion tent, 
reminiscent of a Protestant revival. In the tent are placed 35-50 
folding chairs and 2 portable spotlights for illuminating the altar- 
piece. 



We often forget how dangerous the socio-political situation through- 
out the country actually is, and for this reason I have set out to 
make this expose. 







m 













r 













A* 



ai c <^ 



PETER EDLUND 

^^ 106 Sanchez Street #11 • San Francisco, CA 94114 • (415) 621-4304 

CURRENT PROJECTS 

"Crossing Boundaries: Soviet-American Innovation and Collaboration in the Aits." 
Painting installation , Moscow, August 1990 

GALLERY SHOWS 

1990- WaJter/McBean Gallery, "Inside/Out: Voices from Home" 

1990- New Langton Arts, San Francisco, Painting Installation, "Sweet Dreams" 

1990- Think Tank, San Francisco 

1989- Southern Exposure at Project Artaud, San Francisco, Solo show, "In This House" 

1989- Intersection for the Arts, San Francisco, Solo show, "Questionable Blessings" 

1988- Artists Television Access, San Francisco, Group show, "Plagiarism" 

1987- Works/San Jose, Group show, "Gypsies, Tramps and Thieves" 

1987- Intersection for the Arts, San Francisco, Group show, "Nightmare on Valencia Street" 

1987- Media, San Francisco, Group show, "Reconnaissance" 

.J 00 ^ Media, San Francisco, Collaborative installation with Andy Knipe 

1986- XS Gallery, Carson City, NV, Solo show 

THEATRICAL WORK 

1988- The Lab, San Francisco, "Testament of an Unwilling Observer" 

Written and directed in collaboration with Andreas von Studnitz of Bochum- 
Schauspielhaus, Bochum, West Germany. 

1987- Media, San Francisco, "The Killing Game" 

Produced and directed play by Eugene Ionesco 
1986- The LAB, San Francisco, "Aufstief und Fall der Stadt Mahagonny" 
Adapted and directed play by Bertolt Brecht 

PUBLICATIONS 

Five Fingers Review 8-9, "Crossing Boundaries" exhibition catalog, reproduction 

San Francisco FLxaminer, June 22, 1990, David Bonctti 

San Francisco Weekly, May 16, 1990, Glen Hclfand 

Artweek, Dec. 14, 1989, Vol. 20, No. 42, Anthony Aziz 

Visions, Summer 1989, Maria Porgcs 

Artweek, Jan. 14, 1989, Vol. 20, No. 2, photo-caption 

Artweek, Sept. 17, 1988, Vol. 19, No. 20, Mark Dunn! 
•~"s- ■/, July 10, 1988, photo-caption 
^an Francisco Chronicle, Dec. 18, 1986, Kenneth Baker 



NewLang ton Arts 



June 30, 1990 



To Whom It May Concern: 

The dilemma for artists wishing to be painters in this 
postmodern era is to find issues which make the act of 
painting necessary. The two most common solutions are 
an embrace of the metaphysical and expressive seen so 
much in German and Italian painting of the last ten 
years, or a wholly ironic type of work which describes 
the death of painting. The Expressionists appear 
hopelessly anachronistic and nostalgiac, while the latter 
group, while theoretically important, do not offer 
solutions for young painters, by definition. 

Peter Edlund has developed a form metapainting which 
does not analyze the death of painting so much as 
reinvent the conventions and achievements of the past 
in forms meaningful to theoretical and practical 
concerns of the present. His increasingly consumate 
craft is put toward appropriating the passions, 
ecstasies and cruelties depicted in Classical painting 
into contemporary social and political struggle. Like 
a sampler in contemporary musical composition, Edlund 
plucks out evocative elements of familiar tunes to 
plant them in new earth, enabling us to see them new 
again, and relating them to our lives and issues. 
This is the epitome of excellence in current art 
practice. 

Peter Edlund is an artist of great talent and greater 
promise. I encourage any curator given the opportunity 
to give his work serious consideration. 



Renny Pritikin 
Executive Director 



1 246 Folsom Street • San Francisco, CA 94 1 03 • 4 1 5/626-54 1 6 



6-aJlery H»Us- |i@w UvujV *rte 

Peter Edlund and Liz Young 

Installations 

May 8 -June 2, 1990 

In the theater of Bertolt Brecht, alienation Is the essential device, within his 
plays, pared down to only those Ingredients necessary to move the action forward, 
there Is constant attention paid to not allowing the audience to fully engage In a 
suspension of disbelief. For Brecht, in order for the play to function as a tool with 
which we can examine prescribed societal roles and structures and the Individual's 
collusion or forced participation, the audience must not get caught up in the drama 
as emotional or literal truth, with Its use of alienation devices - the interrupting 
of the action at it's emotional peak, the refusal to accept the notion of the "fourth 
wall" between spectator and performer, a constant calling into duestion the 
veracity of the narrative as it is played out before us - the Brechtian theater 
creates an environment of constantly shifting experience which can only lead to 
the questioning of accepted roles and beliefs. Through this questioning, we arrive 
at a clearer understanding of the society in which we live and the ways in which it 
is capable of change. Similar techniques of alienation are consistently put to use 
in the two works in this exhibition. 

*. „».er Edlund's installation, Sweet Dreams, invites us in through the most 
enticingly mundane of architectural structures, an opening leading into an 
enclosed, darkened space. His total replication of a bedroom, complete with 
nondescript utilitarian furniture gives the place a bland, unassuming air - this 
could almost be some room in a Motel 6 along a highway interchange. Within this 
generic environment, (on the bed, no less) Peter Edlund has placed the most 
romantically emotive of ingredients, 36 pair of long-stemmed, red roses, a symbol 
of great longing, love, and ultimately, loss. The paintings which decorate the 
walls of the room, each painstakingly adapted from works dating from the 15- 17th 
centuries, depict scenes of actual Inquisition torture in handsomely gruesome 
detail. We find ourselves drawn into these pictures of unspeakably brutal acts by 
the very beauty of the rendering. Incorporated within each of these repulsive 
images are phrases of lush poetry, again, taken from other sources, extolling the 
virtues of love and romantic bliss. A continual series of juxtapositions confront 
us at every turn within the installation, demanding that we not get sucked Into the 
contrived emotionality of the place but instead, through the careful examination of 
the conflicting elements, come to an understanding of the nature of love, how we 
manifest that love, and the seemingly limitless potential for cruelty and abject 
degradation within love. 

2" ss the portal of The Way of the Flesh: Allowance- of Pain, Liz Young's 
■TTistallation that takes up the other half of the gallery space, with its rich, 
unmistakable smell of dirt filling the tent-like enclosure, ana we could be at the 



By David Bonetti 

EXAMHER ART CRITIC 



WITH THE simultaneous 
observance of Gay Pride 
Week, highlighted by the 
20th annual Lesbian/Gay Freedom 
Day Parade, and The City hosting 
the Sixth International Conference 
on AIDS, San Francisco has ex- 
ploded with a festival of exhibi- 
tions' that celebrate the diversity of 
gay and lesbian expression and 
document, commemorate and bear 
witness to AIDS activism and 
those who are suffering and have 
perished. 

The two are separate issues. 
Gay is not synonymous with AIDS. 
' In the'lOth year of the epidemic it 
is clear that most gay people in this 
country will not succumb to the 
deadly syndrome, and other popu- 
lations have shown themselves to 
be vulnerable to the virus that, by 
its nature, is promiscuous and 
non-discriminating in its inexora- 
ble spread. 

However, it is undeniable that 
the gay community — especially in 
this city, which epitomizes to the 
world what it means to be gay and 
to be free — has suffered mightily 
from the epidemic. That the com- 
munity has often risen to heights 
of charity is chastening to those 
who would root it in selfishness 
and self-indulgence. Even in the 
midst of the happiness that Gay 
Pride Week brings, there is sadness 
as friends and lovers are remem- 
»bered and their absences sorely 
felt. 



INSIDE OUT: Voices from 
Home," at the San Francisco 
Art Institute (through July 7), 
takes a different approach to the 
epidemic. Primarily by local art- 
ists, the works tend toward the 
quiet, the introspective — even the 
humorous. The humorous piece in 
the show is an 11 -foot-tall water- 
color by Masami Teraoka, who, in 
the style of 19th-century Japanese 
ukioy-e prints, depicts a classic gei- 
sha tearing open with her teeth a 
package of condoms. 

In the entry of the gallery, a 
piece by Kathryn Clark sets the 
elegiac tone. A grid of square pho- 
tographs, taken with the primitive 
Diana camera, it features the radi- 
cally cropped images of a sick man 
being lovingly cared for. On the 
floor is a bed of dried rose petals. 
Set in its center is a small sign, 
"128,319 Americans have died of 
AIDS. Live with tenderness, re- 
member with action.". 

Peter Edlund has produced a 
meditative space for his small 
paintings, which he displays indi- 
vidually in frames that resemble 
wall-altars in private chapels. His 
miniatures are painted in the me- 
ticulous, hyper-realist style of the 
Flemish masters. Each image — 
emblematic of loss, desire, pain and 
remembrance — is accompanied 
by a satin ribbon on which he has 
inscribed an enigmatic saying. 
(The words are Margaret Crane's.) 
"Transformed by desire, your 
glance entices catastrophe" goes 
along with an image of a stag being 
torn to bits by hunting dogs. 
"Flayed before the crowd" accom- 
panies a Magrittean shirt of skin, 
the label of which reads, "Faggot." 



G*lUry Mdf-o - Wa.iler/H^'Ef^. 6WVm 



•£f Ju.*e h^o 



Kathryn Clark resides in Santa Barbara, California. She has 
received numerous grants and awards for her work and has 
exhibited nationally. She has recently exhibited a body of 
work titled mindful affection at San Francisco Camerawork. 



Peter Edlund deals with the personal, psychological trauma of 
AIDS in the gay community and the consequential emotional 
distancing and displacement of sexuality. The works 
exhibited in INSIDE OUT were chosen from fourteen pieces that 
were installed at Intersection for the Arts in January of 
1989. The installation was titled Questionable Blessings and 
was thematically related to the stations of the Cross. 

Although one might assume that the work takes on certain 
aspects of victimization in using the imagery of the Passion 
of Christ in this work, Edlund is in fact using this work as 
a personal "exorcism, a cleansing and healing from the 
bigotry, isolation and shame we live with in an age when 
'gay' means AIDS." His paintings speak about: "the 
resignation one feels in light of popular reaction and 
government inaction to the crisis; the emotional 
difficulties of having an intimate homosexual relationship 
when disease is a threat; the fear of intimate and/or casual 

itact; the horror of illness and death; the social 
"labeling" for being part of a disenf ranchized group, and the 
internalization of these emotions." 

Peter Edlund resides in San Francisco. He has exhibited 
recently at New Langton Arts, Southern Exposure, Intersection 
for the Arts and Artists Television Access. He has been 
invited to participate in Crossing Boundaries: Soviet- 
American Innovation and Collaboration in the Arts this summer 
in Moscow. 



HIV+ Women's Movement Theatre Support Group is an ongoing 
bimonthly women's support group working in the Bay Area. By 
using movement theater techniques the group identifies, 
expresses, and works through issues surrounding HIV 
infection. The theater is private, in that it exists only 
for those who participate. We can only glimpse their work 
from the piece that they have included in the exhibition. 
The art work is a tool which is used in the verbal, visual, 
and physical creation of their theater. 

Personal issues of isolation; intra-per sonal issues of 
support and caregiving; family issues of the communication of 
illness to the children of mothers with HIV infection; and 
.-he stigmatization of women with AIDS are but a few of the 



2